aaa ret Ge 
shaban oeisulse tomnee” AINA SH 
Me sedsaantadadr hor Bum abel toe ; 
5 . : : se Meena tte) AN 

~ “ jth a NEGLI at paitet MONAT MRE 

Doe am 


opin Ret stn ae 
alae Sarnath 


Cade 
beeen 


eet see 

oee . 

aod a aN eA, 
tagcat had Ty Aen ae 


Aan ene Rm ae 
Sane. 


Defiant tnd ak emads 
Ae BHA AH a OME AMO 
A Mate nnna batndie 


Penson ac mete Ate 
Sw ota ate tent 
Pe Te ns 


ST cll 
aresmsunr tal et tere Tater: 
aha ame: a Bete! 


dh etscanitaears geet efi 6A 
reer 
INO Daten 


Hn Rentainten a 


at nck att ontiinat 9 oe 
ieatne cratnide hesitate Mia Bertan mrs 


enon 


eet ROPE 
vagea t= 24 


canara tescenfiga Se deestnere > ste! 


ae tates Ne 
reqarp stadia meme ATe 


aon pdianatins 
a eke? canta rms Katie 


ate 
ce amerate hte my ot 
ee anerubotemetett iene eht oi 
Wiel rd pt enn wine! 

dnokeistentpaden eindsirél 


salto ed ah etna oe 
awenet 200: 


vin 


al, 


+ 


ON FREE PUBLIC VIEW 
FROM 9 A.M. UNTIL 6 P.M. 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


BEGINNING SATURDAY, APRIL 17th, 1920 
AND CONTINUING UNTIL THE DAY OF THE SALE 


THE RARE ARTISTIC PROPERTIES 


COLLECTED BY THE CONNOISSEUR 


SIGNOR RAOUL TOLENTINO 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
LS hers 
AT THE AMERICAN ART GALLERIES 6D Tet. 
ON THE AFTERNOONS OF APRIL 2l1st, 22nd, 23rd, 24th, 26th AND 27th 
AT 2.30 O’?CLOCK 
AND 
IN THE GRAND BALLROOM OF 
THE HOTEL PLAZA 


FIFTH AVENUE, 58th TO 59th STREET 


ON MONDAY EVENING, APRIL 26th, 1920 
BEGINNING PROMPTLY AT 8.30 O’°CLOCK 


\ 


 \wo' 


No. 584—CARVED WALNUT AND OAK PANEL 


A 


ATEAU DE ROSNY 


YRY IV DINING-ROOM IN THE CH 


7 
aa 


FROM THE HE 


DE LUXE CATALOGUE 


OF 


THE RARE ARTISTIC PROPERTIES 


COLLECTED BY THE CONNOISSEUR 


SIGNOR RAOUL TOLENTINO 


WITH AN INTRODUCTION BY 
THE EMINENT AUTHOR, EDITOR AND EXPERT 


eee PG oes: 
Ae paseo 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
ON THE AFTERNOONS AND EVENING HEREIN STATED 


CATALOGUE WRITTEN BY MR. HORACE TOWNSEND 


THE SALE TO BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. OTTO BERNET, OF 
THE AMERICAN ART ASSOCIATION, MANAGERS 


MADISON SQUARE SOUTH, NEW YORK 
1920 


THE AMERICAN ART ASSOCIATION 


DESIGNS ITS CATALOGUES AND DII 


ALL DETAILS OF ILLUSTRATION _ 


Mr. Seymour de Ricci, who has written the fol- 
lowing foreword for the Descriptive Illustrated 
Catalogue of the Tolentino Collection, is well 
known to the American public as the former editor 
of Art in Europe and the author of numerous cata- 
logues of public and private collections. Mr. de 
Ricci lectured here last year in uniform as a mem- 
ber of the French High Commission, and again this 
winter was called to lecture in this country on early 
art by the French Institute in the United States. 
Among his works are: “Catalogue of Italian Pic- 
tures in the Louvre”: “Catalogue of the Barthé- 
lemy Rey Collection”; “Objets d’Art du Moyen 
Age et de la Renaissance”; “Louis Seize Furni- 
ture’; “The Book Collector’s Guide”; “French II- 
lustrated Books of the Eighteenth Century.” 


FOREWORD 


For the American art lover, there is no event more genuinely mier- 
esting than the sale m New York of a great European colleciion. 
Nothing possibly makes a stronger appeal to an amateur’s curiosity 
than the appearance on the American market of a considerable num- 
ber of works of art hitherto unknown or unseen, buried im casiles and 
churches and unearthed for his benefit by an eminent connoisseur. 

Italy. for centuries, has been the artistic storehouse of the world: 
it is from Italy that we naturally expect art treasures and up to now 
we have been seldom disappomted. The intense curiosity awakened 
in this country by the Davanzati Palace sale and by the recent dis- 
persal of the Bardmi Collection shows how keenly Italian art is appre- 
ciated m America. For several years, Signor Raoul Tolentimo has 
been ransacking Italy from the Alps to Oiranto. He has brought io- 
gether a large collection of works of art of every description which. 
through the American Art Association, he will submit to the American 
pubhe. Visitors to the American Art Galleries will have ample oppor- 
tunity to appreciate his energy as 2 collector, his success as a pur- 
chaser. his discrimination and his taste. and finally his knowledge as 
an expert im Italian and French art. 

Personally, Signor Tolentino needs no miroduchon: a Roman by 
birth, he has traveled extensively and has a perfect experience of the 
art trade and its conditions m Europe. He is well known as a careful 
and judicious buyer. with a keen eye for quality and an almost un- 
canny sharpness in detecting a fake. American museums and private 
collections owe many a satisfactory purchase to his expert assistance. 

I have had much pleasure, as a student of Italian art, m mspecting 
the numerous “objets dart” Signor Tolentino has brought here this 
spring. Knowing by my personal experience how scarce good works 
—J may say even indifferent works—are growing m Italy, my first 
impression was surprise at Signor Tolentino’s good fortune m having 
brought together such an extensive and comprehensive collection. My 
second movement. after having studied his treasures, was to congratu- 

Italian furniture of the fifteenth and sixteenth centumes 1s for 
Americans a comparatively recent discovery. It has been a most wel- 
come addition to their artistic stores. The days of gilded halls and 
gaudy mansions are past. The modern apartment, with plam white- 
washed walls or monochrome paper, is far closer to the Italian palazzo 


-'This celebrated foundling-hospital on the Piazza del Duomo has 
long been known to art lovers as the resting-place of valuable works of 
art, such as a fresco by Giottino, painted in 1342, another fresco by 
Niccold di Pietro Gerini and an important Ghirlandaio. As ascer- 
tained by the Italian authorities, this triptych, as late as the eighteenth 
century, still adorned a room of the hospital, from which it was doubt- 
less removed in some day of political disturbance. 

The ascription to Ambrogio Lorenzetti is to my mind open to 
question. A careful study of the panel shows very close analogies to 
the work of Bernardo Daddi, one of Giotto’s most gifted followers 
and an artist who in the last ten years has attained considerable fame. 
‘Tis small altarpieces,” says Dr. Sirén, “so suitable for private col- 
lections, have been brought to light one after another, and it has been 
discovered that the artist is one of the most attractive and appealing of 
the earlier Florentine Trecento painters. He is the more interesting 
because he inaugurated an essentially new movement in this epoch of 
Florentine art.” 

The “Virgin Worshipping the Child” is a characteristic example of 
a Florentine Quattrocento Madonna, in the old frame and in beautiful 
condition, with the arms of the first owners in the lower corner. Pic- 
tures of this type were formerly ascribed to Grafione and to Alessio 
Baldovinetti. Mr. B. Berenson has nowadays successfuliy established 
their author to be Pierfrancesco Fiorentino and has listed the examples 
from his brush in various museums and collections. Few have this 
quality, hardly any show a landscape background (here we doubtless 
have the walls of San Miniato) and none are in more perfect state of 
preservation. 

The most inspiring manifestation of early Italian art are beyond 
doubt the wonderful sculptures of Donatello and his followers. 
Thanks to the untiring labors of Dr. Bode, we are now in most cases 
able to establish on scientific grounds the ascription of most pieces to 
their true author. Thus, every bust and every relief takes its place in 
the history of art and forms as it were a link of a great chain. 


To obtain original marbles by the greatest Italian artists is now a 
hopeless dream. Practically all the available pieces are locked up in 
public museums, and Mr. Widener’s achievement in purchasing his 
great Donatello statue is a solitary exception to a hard and fast rule. 

Are, then, the American museums and collectors doomed to do with- 
out genuine Donatellos/ The case is not quite so bad and I may be 
excused for explaining why, as the facts are not generally known to 
the public. Of most early Italian marbles there exist contemporary 


stucco or terra-cotta repetitions, doubtless executed in the artists’ 
studios and sometimes of considerable merit. ‘Twenty or thirty years 
ago, these replicas were not unobtainable in Italy, and Signor Bar- 
dini, the great connoisseur who, in Schubring’s words, has done more 
than any man, except Bode and Muntz, towards the resurrection of 
Medieval Florence, made a small collection of four reliefs by Dona- 
tello, which Signor Tolentino has been fortunate enough to secure and 
bring to America. These four reliefs exist in the Berlin Museum in 
similar examples, which are fully illustrated in the latest catalogue of 
that unrivaled collection. They should appeal to American collectors 
as exceptional and unexpected opportunities to obtain specimens of 
Italy’s most famous master. 

Not less fascinating is the polychrome stucco figure of the Virgin by 
Francesco di Simone Ferrucci. It is the exact model of the Madonna 
crowning the tomb of the lawyer Alessandro Tartagni in the Church 
of San Domenico at Bologna and is thus authentified as a most inter- 
esting document for the museum director and art historian. 

Likewise the Madonna by Benedetto da Maiano, of which another 
example exists in the Berlin Museum, is closely connected with the fine 
marble relief in the Duke of Montpensier’s Collection, and the Ma- 
donna with the Candlesticks is an excellent example of a composition 
ascribed by most authorities to Rossellino, but believed by others to be 
the masterpiece of an anonymous sculptor known as the “Master of 
the Marble Madonnas.” 

To these should be added a beautiful example of the art of the 
Abruzzi, a marble Madonna and Child, which experts believe to be 
from the hand of the celebrated Silvestro del” Aquila and which shows 
close analogies to his extant works. 

Last, but not least, our readers will find here reproduced a remark- 
able bust of the Saviour by Giovanni Della Robbia, much in the style 
of Verrocchio, and which has a most interesting provenance. It comes 
from the collection of Marquis Viviani Della Robbia, the last surviv- 
ing member of the Della Robbia family, and it was the only work of 
art by his illustrious ancestors which he still had in his possession. 
Both as a sculpture and as a historical relic this bust should appeal to 
all art historians, and we can understand that the late Marcel Rey- 
mond should have mentioned it in his books. 


Foremost among the stately array of bronzes comes the series of 
busts of the Cesars, formerly in Prince Barberini’s Collection and 
doubtless the work of Pietro Tacca, who is known to have been con- 
tinually employed by members of that noble family. 


No collector is entirely indifferent to the ceramic art. Not to men- 
tion the earlier majolica, which speaks for itself, especially the Deruta 
and Faenza pieces, I will draw attention to the remarkable series of 
Castelli and Savona faience, many examples being from the celebrated 
Marcuard Collection, others bearing signatures of members of the 
Delle Grue family. American collectors would do well to devote at- 
tention to these late Italian wares, which have many delightful qual- 
ities and will in a few years be as scarce and as coveted as some of the 
great early pieces. 

If more space were available I would dwell on the textiles and 
embroideries, on the charming set of three “Vieux Paris” tapestries, 
richly woven with gold thread, with biblical subjects, “Rachel and 
Eliezer,” the “Sacrifice of Abraham” and the return of the “Prodigal 
Son.” As shown by the coat-of-arms in the upper portion, they were 
doubtless made for the ancient family of Foisseret in Franche-Comté, 
who bore “‘d’azur au cerf passant d’argent, la téte sommée d'une étoile 
du meme.” 

Finally, I must at least draw attention to historical relies like the 
furniture from King Louis Philippe formerly at the Chateau d’Eu, 
and the two pieces from the French Garde Meuble, which are among 
the few items sold after 1870 when France made a desperate effort 
to clear off the financial obligations incurred during the war against 
the Prussians. 

Such are a few of the works of art contained in the Tolentino Collec- 
tion. They have been brought together with infinite pains and with 
the most earnest endeavor to select only such pieces as are a worthy 
object of the student’s and collector’s attention. Many of these 
examples, all, I believe, in time, will find their way into public 
museums and permanent galleries. May I express the hope that their 
origin should not be forgotten and that they should carry down to 
future generations the name of the eminent connoisseur who has so 
successfully brought them together. 


eymaur do. faces 


New York Ciry, 1920. 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute arise 
between two or more bidders, the auctioneer shall either decide the same 
or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
of which the lot so purchased shall be immediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for 
the enforcement of the sale, or may at public or private sale, and 
without other than this notice, re-sell the lots for the benefit of such 
purchaser, and the deficiency (if any) arising from such re-sale shall 
be a charge against such purchaser. 

4, Delivery of any purchase will be-made only upon payment 
of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—between the 
hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in 


which the Association is in no wise engaged, and will not be performed 


by the Association for purchasers. The Association will, however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the pur- 
chaser. ‘Title passes upon the fall of the auctioneer’s hammer, and 
thereafter, while the Association will exercise due caution in caring 
for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 


within ten days from the date of the sale thereof. 


7. Guarantee is not made cither by the owner or the Association 
of the correctness of the description, genuineness or authenticity of any 
lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale, after which 
it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot cor- 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby wouid become responsible 
for such damage as might result were his opinion without proper 


foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 


Madison Square South, 
New York City. 


i 
f . 
t 
P 
; 
e 
- Oa 
, = 
‘ ; . 
‘. é ' ‘: 
‘ 7 
- 
' 
5 
' 
— 
~~ 
¢ 
‘ 
3 
‘ 
¥ 
’ 
, a 
\ 
d Y 
FE 
f 
- y * 
F a 
—— ‘Wy 
> 
} ~F - 
4 * 
Ts 
oe of 
y ‘ 
= 4 
ad | i yg 
: f 


i 
‘ 


Signor Raoul Tolentino, in pre-- 
senting to the American public the | 
artistic properties described in the 
catalogue here following, makes 
grateful acknowledgment to his 
first teacher, his uncle, Signor — 
Arnoldo Terracina of Rome, to — 
whom, above all others, he owes his © 
training and sais as” an a 


antiquarian. 


f 


FIRST AFTERNOON’S SALE 
WEDNESDAY, APRIL 21, 1920 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


MISCELLANEOUS ART OBJECTS OF THE FOURTEENTH 
TO THE NINETEENTH CENTURY 


1—Frencu Cut-ciass Cur anp Saucer or THE Earty NINETEENTH 
CENTURY 
‘Cup with looped handles of gilt bronze with acanthus scroll terminating in 
rooster’s head and gilt bronze rim. Saucer with gilt bronze rim. Cut 
with bands and roundels of a checkered pattern. 


* 


2—FLorENTINE Ivory InLtatp Watnutr Ser or Hour-crasses (CiEpsy- 
DRA) OF THE Earzty SIxTEENTH CENTURY 

Rectangular shape, with set of four hour-glasses in case of walnut with 

molded cornice supported by turned spindles and molded base. Inlaid 


with ivory knobs. 
Height, 3, inches; length, 64% inches. 


38—SrENESE WoopEN CorFFER OF THE FIFTEENTH CENTURY 


Rectangular shape, with hinged lid. Sides and top of lid carved, in 
low relief, with panels of floral sprays with diapered background; ends 
carved with birds, brass angle strips and hinged looped handle. 


Height, 4 inches; length, 91% inches; width, 7 inches. 


4—Frencu Marsie Tray oF THE Earty NINETEENTH CENTURY 


Oval shape. Black and white marble, with pierced gallery of silver and 
molded base and paw feet of gilt bronze. 


Length, 101%, inches; width, 7%, inches. 


5—VENETIAN AppLiguks Guass Vases AND CovEeRS OF THE EIGHTEENTH 
CENTURY 
Pear-shaped bodies, with removable domed covers. Decorated with 
Chinoiseries of Chinese ladies, branches of roses, detached floral sprays, 
in cut-out colored paper attached to inner surface of glass and finished 
with background of white. 
Height, 15 inches. 


6—Pair or Novi Porcruain VAsEs OF THE ANTONIBON PERIOD OF THE 
Later EIGHTEENTH CENTURY 


Urn-shaped. Of white biscuit ware, decorated in blue, black and gold 


with figures adapted from Etruscan vases. Gilt spreading rims, looped 
handles and circular feet. On rectangular glazed black bases. 


Height, 10 inches. 


7—Pair oF EncuisH Encravines PrintTEp 1n Coors oF THE EIGHTEENTH 
CENTURY 
Rectangular shape. ‘Innocent Mischief” and “Innocent Revenge.” One 
showing a group of children chasing a butterfly, the other two girls 
tickling the face of a boy. Engraved by Bonnefoy after R. Westall 
and dated 1799. 


Height, 15 inches; width, 12 inches. 
s 


8—EncuisH StTirpPpLE ENGRAVING OF THE EIGHTEENTH CENTURY 


Oval shape. Printed in brown. ‘The Pet Bird,” showing two maidens 
and an undraped child playing with a pet bird in front of its cage. En- 
graved by P. W. Tomkins after Bartolozzi. 


Height, 10 inches; width, 124, inches. 


9—VeENETIAN ParinTING on GLASS OF THE EIGHTEENTH CENTURY 


Rectangular shape. Painted with figure of a young woman seated under 
a tree, to whom a youth offers a basket of fruit. On the ground is seated 


an infant. Landscape background. 
Height, 15 inches; width, 13814, inches. 


10—Parir or VENETIAN Guass PaIntTINGs OF THE EIGHTEENTH CENTURY 


Rectangular shape, painted, on glass, with scenes of Dutch interiors and 
figures in the style of Teniers. In old molded gilt frame. 


Height, 1314 inches; width, 1314, inches. 


11—VeEneETIAN Ivory anp Exsony IntAtpn Watnut CHESSBOARD OF THE 
SIXTEENTH CENTURY 


Rectangular shape. Exterior inlaid with squares of ivory alternating 
with squares of ebony inlaid, with ivory, in a design of acanthus-leaf 
quatrefoils surrounded by a border of ebony panels inlaid with pointed- 
leaf scrollings. Interior inlaid in the center with a rectangular panel of 
ebony occupied by an oval medallion surrounded by scrolled acanthus 
leaves, and with a backgammon board inlaid with ivory and rays alter- 
nately plain and stained green. The raised edge is inlaid with detached 
panels of ebony inlaid, with ivory, in a pattern of scrolled acanthus 


leaves. 
Height, 201% inches; width (open), 2534 inches. 


12—Roman LeatTHER Booxsindine OF THE SEVENTEENTH CENTURY 
Rectangular shape. Brown calf, tooled in gold, with panels surrounded 
by scrolled borders semés with stars and divided by bands of smaller 
panels of alternate hatched and horizontal lines. 


Height, 14 inches; width, 10 inches. 


183—Roman LeatuHerR PortTrouio OF THE SIXTEENTH CENTURY 


Rectangular shape. Red morocco leather, tooled in gold, with two panels 
having scrolled borders and occupied by scrolled escutcheons charged 
with the arms of the Barberini family and the order of Saint Francis. 
One surmounted with a Papal Tiara and crossed Keys and one with a 
Bishop’s Hat. Fastened with gold-tooled strap. 


Height, 6 inches; width, 14 inches. 


4 
‘ 
' 
' 
t 
’ 
‘ 
~---% 
' 
‘ 
‘ 
‘ 
’ 
‘ 
4 


t3¢t 
: 


“+ > 
J 


secuncee 


+<¢ 

’ 
Jucwsccese 

‘ 


2334 


¢ 


t 
ee ee ee 


‘ 


24343 


' 


>< 


9 aha 


4 
>< 
pe Sigs cos ete ote Seoee 


14—VeneTiaAn Intatp Watnut CHEsspoard OF THE SIXTEENTH CENTURY 
Rectangular shape, hinged in two portions. One half of the exterior in- 
laid in ivory and light-colored wood with the squares of a chessboard, 
the other half with square panels. Interior inlaid with ivory and light- 
colored woods as a backgammon board with center panels of intarsia- 
work. 


Length, when open, 29 inches; width, when open, 18 inches. 


From.the old Simonetti Collection, Rome. 


15—FLoreNTINE MANDOLIN OF THE SEVENTEENTH CENTURY 
Pear-shaped body, formed of longitudinal bands of ivory and ebony. 
Pearwood sounding board, pierced and carved with circular medallion 
and with scrolled bridge. Straight carved stem and carved head with 
horizontal projecting carved arm. Original support of woven silk braid 
finished with silk tassels. ; 


Length, 31 inches; width, 11 inches. 


From the old Simonetti Collection, Rome. 


16—Vexeran Breviary or tHe Ercureenrn Century 
Breviary printed in black and red at Venice in the year 1744 and pub- 
lished by the Balleoniana Press. Bound in red velvet embroidered in 
colored silks and gold thread with scrolled escutcheon, with the coats- 
of-arms of the owner and the order of St. Clare. Title page illuminated 
with the name of the owner, a Sister of the order of “Poor Claires.” 
Brass clasps. 


17—VewnetTiaAn Gitr Woop anv Wire Musicat Birpcacre or THE Ercur- 
EENTH CENTURY 

Of gilt wire. Circular-shaped body, with domed cover and brass swing- 

ing ring fimal. Incurved circular base of gilt wood, incised with floral 

meander, on ball feet. Interior fitted with artificial birds of bright- 

colored plumage, perched on branches of a tree and arranged to whistle 


tune. 
' Height, 25 inches; diameter, 10 inches. 


18—VENETIAN Wire Birpcace oF THE EIGHTEENTH CENTURY 
Rectangular shape with chamfered angles, domed top with spirally twisted 
ring handle and wooden pendants and rectangular wooden base. Formed 
of scrolled and spirally twisted wires, with projecting seed and water 
receptacles at sides. Painted green and yellow. 


Height, 2714 inches; length, 1814 inches; width, 15 inches. 


19—Frencnw Enecravine 1n Corors or tHE EigHTeENTH CENTURY 
Cry of London: ‘Knives, scissors and razors to grind.” An old man 
with a grindstone and two girls in white dresses. (Rare.) 


Height, 1384 inches; width, 11 inches. 


20—BurcunpDIAN GoLp EARRING OF THE FouRTEENTH CENTURY 


Circular cabochon-cut garnet, known as a carbuncle. In gold setting 
formed of volutes of gold wire with loop and hook of gold. 


21—Frencu Wrovent-iron Bac FRAME OF THE FIFTEENTH CENTURY 


Oval-shaped ring dragons, with voluted tails and roundels. Straight 
loop, with rectangular wings pierced and wrought with a star and 


fleurs-de-lis. 
Length, 81% inches. 


22—FrencuH Sitver Musrarp-pot oF THE EIGHTEENTH CENTURY 
Cylindrical shape. Open sides, divided by three plain flat tapering pilas- 
ters with spoon feet; horizontal bands above and below, pierced with 
quatrefoils, and engraved, molded rim; hinged domed lid with pineapple 
finial and flat looped handle. Blue glass liner. Paris touch of the eight- 


eenth century. 
Height, 434 inches. 


23-—Dutrcu Sitver CorreE-pot oF THE Empire PERIOD 
Vase-shaped body, with hinged domed lid, acorn fimial, curved horse- 
headed spout, looped handle and band of engraved palmettes. On three 


curved tapering legs with female masks and paw feet. 
Height, 9 inches. 


24—Sinver Bown, Cover anpD STAND OF THE EIGHTEENTH CENTURY 


2 


Coupe-shaped bowl, with looped handles terminating in dogs’ heads. 
Domed cover, with finial shaped as laurel wreath; circular foot and 
saucer-shaped stand; rim of cover, foot of bowl and rim of stand deco- 
rated with bands of lotus leaves. Turin hall-mark of the eighteenth 
century and maker’s mark “G.F.” 


Height, 51%, inches; diameter, 8 inches. 


Frencu Parcet Grrr anp ENAMELED SILVER EWER oF THE FIFTEENTH 
CENTURY 
Pear-shaped body, incurved neck, cylindrical stem, molded circular foot, 
domed and hinged lid, acanthus-leaf thumbpiece, acorn-shaped acanthus- 
leaf finial and flat looped handle. Body, neck, foot and back of handle 
decorated with bands of appliqué gilt ornament fashioned in _ high- 
relief as acanthus-leaf scrolls. Those around neck and _ body 
interrupted by circular medallions occupied by heraldic shields charged 
with coats-of-arms and quatrefoils in colored champlevé enamels on green 
grounds. Around the body are bands of incised trefoil ornamentation. 


Two Maltese Cross marks. 
Height, 17 inches. 


(Illustrated) 


26—Frencu Sitver Trea-set And TRAY OF THE EIGHTEENTH CENTURY 


Hexagonal pear-shaped bodies, with curved spouts, square looped handles 
and hinged domed covers with pear and leaf finials. Flat-chased, with 
panels of fruit, pendants hanging from looped ribbons and groups of 
fruits on dotted grounds. Interiors of ewer and sucrier gilt. Oval tray 
with gallery pierced in a design of oval medallions. Set consists of teapot. 
coffee-pot, cream-ewer, sucrier and tray. Paris touch for 1786. 


(Illustrated) 


27—Frencu Crock oF THE Empire PrErtop 


Lyre-shaped case of copper finish and gilt bronze, with cresting formed 
as scrolled escutcheon and basket of flowers. On circular molded foot 
and square base. Enameled dial, inscribed, “Chapon et Liquier.” 


Height, 12 inches. 


28—Frencu Girt Bronze Chock or THE Empire PeRiop 


Circular clock dial, surmounted by a trophy of a Roman standard, a can- 
non and a fold of drapery, and flanked, on one side, by the standing 
figure of a grenadier in bearskin hat with three piled flintlock rifles, and 
on the other by a helmet and cannon ball. Rectangular base, with 
wreath and eagle, helmets and breastplates at angles and festoons of 
flowers and leaves. Base of gilt bronze scrolls and volutes. 


Height, 271, inches, 


ta. sstiiikedinn ia ated 
a, ae 


err’ 


A 


NAAA/ 
\ 


AY 
yO? 


29—FLorENTINE Sitver axp Rock Crysrat Paper Kyire or THE Srx- 
TEENTH CENTURY 
Straight handle with chamfered angles and voluted pommel of rock 
erystal and with molded and chased silver gilt mounts. Spreading 
ineurved blade of steel damascened in gold with scrolled leaves. 


Length, 11% inches. 


30—Frexcu Bronze anv Livoces Examert Cross oF THE FourRTEENTH 
CENTURY 

Cross with figure of crowned Christ hanging on cross with “IN RI” 

label, on larger cross decorated with bronze bosses and Limoges champlevé 

colored enamels in a pattern of roundels. Surrounded by cruciform 


background of wood. 
Height, 7% inches. 


31—FrencH Bronze axnpn Enament Limocres Dish oF THE Earty Fovur- 
TEENTH CENTURY 


Circulars shape, with flat rim. Repoussé, chased and decorated with 
Limoges champlevé enamels, as to the center with a circular medallion 
occupied by a half-figure of Christ, crowned, with a cruciform nimbus and 
His hand raised in the act of benediction, surrounded by a border of 
scrolled Gothic leaves, and as to the rim with six circular medallions occu- 
pied by trefoil of vine leaves. 

Diameter, 114% inches. 


32—Frencu Gitt Bronze anv Horn GoBLET OF THE FouRTEENTH CENTURY 


Coupe-shaped bowl of polished horn, with molded rim of gilt copper and 
enclosed in hinged straps decorated with grounds of incised zigzags and 
trefoiled borders. Hexagonal molded stem with knop formed of two 
tiers of incised trefoiled arches with Gothic pinnacles at the angles. 
Hexagonal spreading base decorated with chased acanthus leaves on 
a granulated ground and circular foot. Stem and base of gilt copper. 


Height, 9 inches. 


39, —Frencu Girt Bronze Carre, Crock or THE EIGHTEENTH CENTURY 
Circular dial, with glazed pendulum case. Scrolled case of gilt bronze, 
with pointed-leaf pendants, vase-shaped finial and leaf and berry apron. 


Works signed by Deniére, of Paris. 
Height, 14 inches. 


33—Frencu Goruic anp ENaMEeLep CaNpDLESTICK OF THE FovURTEENTH 
CENTURY 
Columnar stem, formed of five clustered pillars bound by molded bands 
entwined with wreaths of wrought leaves. Circular spreading foot with 
raised heraldic shield charged with a coat-of-arms in blue champlevé 


enamel. Traces of original gilding. 
Height, 15 inches. 


(Illustrated) 


34—VeENeETIAN Ivory AND Bronze CaBineT OF THE SIXTEENTH CENTURY 
Rectangular shape. Hinged domed cover, with couchant lion in gilt 
bronze as finial lid forming a box. Body with dentelled cornice and two 
hinged doors with paneled front decorated with scrolled and pierced 
quatrefoils of bronze, with centers of old Roman cameo bust portraits 
of Roman Emperors in lava and stone. Plinth fitted with drawer with 
scrolled bronze keyhole escutcheon, shaped apron and bracket feet. 


Height, 16 inches; length, 13Y, inches. 
From the Marcuard Collection, Florence. 


(Illustrated) 


35—VENETIAN Inuaip Torrotsr-sHELL TABLE SCREEN OF THE EIGHTEENTH 
CENTURY . 
Octagonal screen, with shaped tortoise-shell frame inlaid with engraved 
brass in a pattern of acanthus-leaf scrolls and birds and in colored 
enamels with a shield charged with a coat-of-arms. Inner frame of 
C-scroll pattern, cresting and side brackets of oval medallions, shell and 
C-scrolls of gilt bronze. On octagonal baluster-shaped stem and tripod 
base of three voluted and scrolled legs decorated in relief with rosettes 
and acanthus leaves of gilt bronze. Screen encloses panel of silk brocade. 


Height, 22 inches; width, 16 inches. 


34 


36—VeENETIAN Carved anv Girt Woop Ciusn NAME-BOARD OF THE ErcHT- 
EENTH CENTURY 

Rectangular-shaped tablet, with four vertical divisions, having horizontal 
channels for the reception of name cards. In the center is a vertical 
band carved with a rosetted guilloche pattern, above a tablet painted 
with an inscription, flanked by dies with gutte and lions’ masks, sur- 
mounted by a carved wreath of leaves and flanked by festoons of leaves 
and flowers. At the sides are carved floral pendants and below a shaped 
apron with demi-rosette and pear-shaped acanthus-leaf pendants. En- 

tirely gilt. 
Height, 6614, inches; width, 31 inches. 


37—Nortu Irauian Carvep Ox Yoxkr oF THE SIXTEENTH CENTURY 
Double curved shape, carved in low relief on one side with panels occu- 
pied by the interior of a kitchen with a woman baking bread and a Madia, 
and by groups of a plough, a cart and agricultural implements. Carved 


on the other side with a cow and horse. 
Length, 41 inches. 


38—VeENETIAN Wax ARCHIEPISCOPAL CROZIER OF THE SIXTEENTH CENTURY 
Head formed as voluted crook, of scrolled acanthus leaves supporting 
seated figure of Lamb, with two couchant lions at base. Square base 
with round arched niches, one occupied by figure of a saint and cylindri- 
cal staff modeled as a reed and entwined at foot with serpent. 


Length, 80 inches. 
From the old Simonetti Collection, Rome. 


39—VeENETIAN CarveD anv Gitt Woop ProcrEsstonaL STANDARD OF THE 
SEVENTEENTH CENTURY 


Wooden standard, carved and pierced with two Putti, voluted scrolls. 
Cherub and descending Spiritus Sanctus Dove. On cylindrical staff 
covered with spirally twisted silk ribbon and brocade and finished with 


silk tassels. 
Length, 80 inches. 
From the old Simonetti Collection, Rome. 


MAJOLICA OF THE SIXTEENTH AND SEVENTEENTH 
CENTURIES 


40—Farnza Masoutica Druc VASE OF THE SIXTEENTH CENTURY 


Pear-shaped body, with incurved neck and circular foot. Invested with 
a white glaze, and decorated, in blue, green and yellow with a medallion 
occupied by a couchant heraldic lion and surrounded by a wreath of 
pointed leaves and fruits and by zigzag scrolls of dark blue. A label 
inscribed with the name of the drug in Roman letters below. (Chipped.) 


Height, 7 inches. 


41—CaraccioLto Masorica PHarMacy ALBARELLO OF THE SIXTEENTH 
CENTURY 

Cylindrical shape. Decorated, in blue, green and yellow, on a white 

ground, with a portrait of a youth, label with name of drug, and panels 


of leaves, zigzags and scrollings. 
Height, 71/4, inches. 


42—Lop1 Masozuica INKWELL or THE SEVENTEENTH CENTURY 


Formed as a vase-shaped inkwell supported by three heraldic convention- 
alized lions resting their paws on scrolled eseutcheons and decorated 
in relief with three grotesque masks on circular base with two coupe- 
shaped and one cylindrical receptacle for sand and pouncet. Invested 


with a dark brown glaze simulating bronze. 
Height, 7, inches. 


43—Patr oF CaLtracrRoNE Magouica PIrcHERS OF THE SIXTEENTH CENTURY 


Pear-shaped bodies, with, straight spouts and flat looped handles. In- 
vested with a white glaze and decorated, in dark blue, green and yellow, 
with circular medallions occupied by the heads of an old man and young 
woman, and with rosettes and scrolled leaves. (One spout restored.) 


Height, 81%, inches. 


44—Derrvuta Lustrep Masouica Dish oF THE SIXTEENTH CENTURY 


Circular shape, with spreading sides. Invested with a white glaze and 
decorated, in blue and yellow lustre, with the portrait of a youth in 
sixteenth century costume and with a border of pointed panels enclosing 


voluted leaves. 
Diameter, 7%, inches. 


45—Farnza Magsouica Druc PircHEeR oF THE SIXTEENTH CENTURY 


Pear-shaped body with straight spout, entwined by a modeled cord and 
with a mask at its base, incurved neck, molded circular foot and double 
looped handle. Invested with a white glaze and decorated, in blue, green, 
orange and yellow, with fruits, masks and dancing. An Amorino above, 
a label inscribed with the name of the drug in the center, and below an 
oval medallion occupied with initials and supported by Amorini with 


scrolled terminations. 
Height, 9 inches. 


46—CaraccioLo MasoricA PHarmMacy VAsE OF THE FIFTEENTH CENTURY 
Pear-shaped body, cylindrical neck, straight spout and looped handle. 
Decorated, on a white ground, in colors, with scrolls and a label with 


the name of the drug. 
Height, 8, inches, 


47—CasteL Durante Magouica Prine-conr VasE OF THE SIXTEENTH 
CEenTURY 
Vase in form of a pine-cone with circular molded foot decorated with light 
blue and brown glazes, and with bands of blue and orange. 
Height, 94% inches. 


48—Farnza Masouica Pinge-cong VASE OF THE SIXTEENTH CENTURY 
Vase in form of a pine-cone with circular molded foot. Invested with 
vertical quarterings of dark blue and yellow glaze. (Foot repaired.) 
' Height, 10 inches. 


49—CaraceioLo Masoxuica BorrLe oF THE SIXTEENTH CENTURY 


Semi-globular shape, modeled as a human head, with straight spout and 
double looped handle. Decorated, on a white ground, in colors, with 


butterflies and a Latin inscription. Dated 1599. 
Height, 84, inches. 


50—Pair oF Castet DurantE Masouica Druc VASES OF THE SIXTEENTH 
CENTURY 


Pear-shaped bodies, with incurved rims and circular feet. Invested with 
a white glaze and decorated, in blue, green and yellow, with circular 
medallions, one occupied by the Franciscan emblem, and one with an 
Amorino, and surrounded by wreaths of pointed leaves and fruits and 
looped ribbons. Labels inscribed with the names of drugs below. 


Height, 61 inches. 


51—Earty Caraccioto Masorica PHarMacy VasE oF THE FIFTEENTH 
CENTURY 

Pear-shaped body, incurved neck, straight spout and looped handle. 

Decorated, on a white ground, in colors, with scrolls, leaves, fruits 


and a label. 
Height, 10 inches. 


Note: From the Von Beckerat Collection and illustrated in his book on “Italian 
Majolica.” 


52—Perrsian (KasHan) Porrery ALBARELLO OF THE SIXTEENTH CENTURY 


Cylindrical shape, with incurved sides, cylindrical neck and incurved 
foot. Invested with a dark blue glaze stopping short of the foot. 


Height, 12 inches. 


Persian (KasHan) Porrery ALBARELLI OF THE SIXTEENTH 
CENTURY 

Cylindrical shape, with incurved sides, sloping shoulders and cylindrical 

necks and feet. Invested with a light blue glaze stopping short of the 


feet. 
Height, 12 inches. 


54—Perrstan (Kasuan) Potrery ALBARELLO OF THE SEVENTEENTH CENTURY 
Cylindrical shape, with incurved sides, sloping shoulders and spreading 
neck. Invested with a dark blue glaze stopping short of the foot. 


Height, 12 inches. 


55—Pair or Faenza MasoxuicA ALBARELLI OF THE SIXTEENTH CENTURY 


Cylindrical shape, with incurved sides. Invested with a white glaze and 
decorated with horizontal bands of green and orange and with a broad 


band of blue decorated with scrollings in white reserve. 
Height, 9, inches. 


56—Masouica Two-HanpLep PuarmMacy Vase oF THE SIXTEENTH CENTURY 
Pear-shaped body, with looped handles. Decorated, in blue, green and 
yellow, on a white ground, with portrait of a young woman, name of the 


drug and scrolling. ( Repaired.) 
Height, 8 inches. 


(Illustrated) 


57—Ureino Masoutca Puare oF THE SIXTEENTH CENTURY 
Circular shape. Painted, on a blue ground, in colors, with portrait of a 


woman, inscribed, “w. rpotr TA.” In case. 
Diameter, TY, inches. 


(Illustrated) 


58—Ruopian WarE PLATE OF THE SIXTEENTH CENTURY 
Circular shape, decorated, on a bluish-white ground, in colored enam- 


els, with a Rhodian Knight. 
Diameter, 101%, inches. 


59—Pair or Farnza Masorica PHARMACY ALBARELLI OF THE SIXTEENTH 
CENTURY 
Cylindrical shape, with sloping shoulders modeled in relief and molded 
feet. Invested with a white glaze and decorated, in blue, yellow and 
green, with acanthus-leaf scrolls, bands of acanthus leaves and the names 


of the drugs in Gothic letters. 
Height, 10 inches. 


60—CastEet. Duranre Farnza PrrcHer with HaNpDLE OF THE SIXTEENTH 
CENTURY 


Pear-shaped body, with incurved neck, circular foot, straight spout 
encircled by a modeled cord and flat looped handle. Invested with a 
white glaze and decorated, in blue, orange and yellow, with a diapered 


pattern of floral rosettes. 
Height, 10 inches, 


61—Pair or Savona Magsonica PircHers oF THE SIXTEENTH CENTURY 


Pear-shaped bodies, with straight spouts, looped handles and incurved 
necks. Invested with a blue glaze and decorated, in black, with scrolled 


acanthus leaves. 
Height, 1014 inches. 


62—Pair or Savona Masonica Vases OF THE SEVENTEENTH CENTURY 
Pear-shaped bodies, cylindrical rims, circular feet and upright leopard’s 
head handles. Decorated, on a white ground, in blue, with landscapes 


and figures in seventeenth century costumes. 
Height, 81% inches. 
From the Marcuard Collection, Florence. 


63—Lop1 Masorica PHarmMacy VASE OF THE SEVENTEENTH CENTURY 


Cylindrical bulbous shape, with straight side, incurved rim and foot and 
handles modeled as winged Grecian sphinxes with serpentine terminations. 
Decorated, on a white ground, with scrollings and with the name of the 


drug on a label. 
Height, 13% inches. 
From the Marcuard Collection, Florence. 


64—CaraccioLto Lustrep Masouica DisH or THE SIXTEENTH CENTURY 


Circular shape, with flat rim, gauffered edge and fluted center. Invested 
with white glaze and decorated in lustred brown and blue with radiating 
panels occupied by shuttle-shaped figures and with a flower and leaf 
border. Mark P and Monogram. 


Diameter, 914 inches. 


Note: This is an exceptionally interesting piece. Though it bears the mark of 
the Cafaggiolo potter, Pietro Di Pilipo, the lustre is that associated with Gubbio Ware. 


65—Savoxna Masourica VAsE oF THE SEVENTEENTH CENTURY 


Bulbous pear-shaped body, with spreading neck, pierced and molded 
rim, molded circular foot and two looped handles with scrolled termina- 
tions. Decorated, on a white ground, in blue, with Putto astride a gro- 
tesque horse, trefoils, arms of France and Austria, voluted scrolls and 
flowers in relief. 


Diameter, 10, inches. 
From the Marcuard Collection, Florence. 


66—Lopi Masouica PHarMaAcy VAsE OF THE LATE SIXTEENTH CENTURY 


‘Bulbous cylindrical body, incurved neck, molded circular foot and looped 
handles modeled as winged Grecian sphinxes. Decorated, on a white 
ground, in colors, with scrolls, flowers, leaves, fruit, figures of deer and 
with the name of the drug. 


Height, 12 inches. 
From the Marcuard Collection, Florence. 


67—Farnza Magsouica VASE- OF THE SIXTEENTH CENTURY 


Pear-shaped body, with annular rim. Invested with a white glaze and 
decorated with a ground of light blue, panels of scrolled leaves and 
floral sprays in dark blue and with a band of scrolled ornamentation in 
white reserve. 

Height, 11 inches. 


68—CastreL Durante Masouica Druc VAsE witH HANDLES OF THE SIX- 
TEENTH CENTURY 


Pear-shaped body, with incurved rim, circular foot and flat looped 
handles. Invested with a white glaze and decorated, in blue, orange and 
yellow, with diapered pattern of floral rosettes and a scrolled label, in- 


scribed with the name of the drug in Roman letters. 
Height, 11 inches. 


69—Damascvs Porrery Bow. or THE SIXTEENTH CENTURY 
Coupe-shaped, with curved sides. Invested with a white glaze and 
decorated, in blue and green, as to the center, with an octagonal medal- 
lion with incurved sides occupied with diagonally crossed lines and 
scrollings, and as to the sides, with spade-shaped panels enclosing two 
shuttle-shaped dolled ornaments surrounded by scrollings. 


Height, 4 inches; diameter, 12 inches. 


70—Damascus Potrrrery Bown oF THE SIXTEENTH CENTURY 


Coupe-shaped, with curved sides and flat rim. Inyested with a white 
glaze and decorated, in blue, green and yellow, as to the center, with a 
hexagonal pointed leaf rosette, and as to the sides, with spade-shaped 
panels alternately outlined in green and yellow, and occupied by hatched 
diapers in blue. The rim decorated with a border of a line and pear- 


shaped splashes in blue. 
Height, 44%, inches; diameter, 14 inches. 


71—CaraccioLo MagsoricA PHARMAcyY ALBARELLO OF THE SIXTEENTH 
CENTURY 

Cylindrical shape, decorated in blues and yellow, on a white ground, 

with a portrait of a turbaned Turk, a label with name of drug and 


scrolled acanthus leaves. 
Height, 124% inches. 


(Illustrated) 


72—Parr or Savona Masorica “RocaiLLte” Piatres oF THE EIGHTEENTH 
CENTURY 
Circular shape, with scroll and shell rims, and scalloped edges. Deco- 
rated, on a white ground, in blue, with landscapes, trees, buildings and 
figures. 
Diameter, 16 inches. 
From the Marcuard Collection, Florence. 


(Illustrated) 


~s 
i3—Parr or Savona Masonica “Rocaitte” PLAtTes oF THE EIGHTEENTH 
CENTURY 


Circular shape, with scroll and shell rims and scalloped edges. Deco- 
rated, on a white ground, in blue, with landscapes, trees, buildings and 
figures. 

Diameter, 16 inches. 
From the Marcuard Collection, Florence. 


72 


74—Savona Masouica DisH oF THE SEVENTEENTH CENTURY 
Circular shape, with curved rim and scalloped edge. Decorated, on a 


white ground, in blue, with a landscape, trees and figures of lovers. 


Diameter, 15%4, inches. 
From the Marcuard Collection, Florence. 


(Illustrated ) 


75—Savona Masouica PuaTe oF THE SEVENTEENTH CENTURY 
Circular shape, with curved rim. Decorated, on a white ground, in 
blue, with a landscape and building and a figure subject of a reclining 


Venus surrounded by Amorini. 
Diameter, 1314, inches, 


From the Marcuard Collection, Florence. 


(Illustrated ) 


76—Savona Masouica “RocatLLte” PLATE OF THE SEVENTEENTH CENTURY 
Circular shape; curved rim and scalloped edge. Decorated, on a white - 
ground, in blue, with a central medallion of a woman seated in a land- 


scape surrounded by scrolls and leaves. 
Diameter, 171/, inches. 
From the Marcuard Collection, Florence. 


(Illustrated ) 


77—Savona Magsouica “RocatLLE” PLATE OF THE SEVENTEENTH CENTURY 


Circular shape; curved rim and scalloped edge. Decorated, on a white 
ground, in blue, with a central medallion of three seated female figures 


surrounded by Amorini, landscapes and buildings. 
Diameter, 17 inches. 


From the Marcuard Collection, Florence. 


(Illustrated) 


78—Savona Magsouica “RocatLtue” PLATE OF THE SEVENTEENTH CENTURY 


Circular shape, with scalloped edge. Decorated, on a white ground, 
in blue, with a central medallion of warriors and horses. 


Diameter, 151/, inches. 
From the Marcuard Collection, Florence. 


(Illustrated) 


74 78 


79—Pesaro MagouicA PLATE OF THE SIXTEENTH CENTURY 
Circular shape. Painted, in colors, the center, on a blue ground, with 
head of Roman Emperor and Latin inscription, the rim on a white 


ground, with scrolled leaves and flowers. In case. 
Diameter, 1534 inches. 


S80—VENETIAN MasozicA Ewer oF THE SIXTEENTH CENTURY 


Pear-shaped body, incurved neck, pointed spout, looped handle with 
mask termination in relief and circular molded foot. Invested with a 
white glaze and decorated, in yellow, brown and blue, with a scrolled 
escutcheon charged with the arms of the Pisani family and supported by 
two figures of Victory. 

Height, 13% inches. 


81—Dervuta Lustrep Mayvonrica PLATE OF THE SIXTEENTH CENTURY 


Circular shape. Decorated, on a white ground, in golden lustre and 
blue, with a crowned “N,” the initial of the family for whom the plate 
was made, and with scrolled leaves. 


82—Prsaro Magsouica PLATE OF THE SIXTEENTH CENTURY 


Circular shape. Painted, in colors, the center, on a blue ground, with 
the portrait of a woman with uncovered breast, the rim on a white ground 
with panels of imbrications and scrolls. 

Diameter, 151% inches. 


83—Pair oF Savona Masouica “RocaiLte” PLares OF THE EIGHTEENTH 
CENTURY 
Circular shape, with scroll and shell rims and scalloped edges. Deco- 
rated, in blue on white, with landscapes, trees, buildings and figures. 


Diameter, 16 inches. 
From the Marcuard Collection, Florence. 


84—Par or Savona Magsouica “RocaitLte” PLATES OF THE EIGHTEENTH 
CENTURY 
Circular shape, with scroll and shell rims and scalloped edges. Deco- 
rated, on white, in blue, with landscapes, trees, buildings and figures. 


Diameter, 16 inches. 
From the Marcuard Collection, Florence. 


844—Dervuta Lustrep Masorica PLate or THE FIFTEENTH Cen: 
Circular shape. Decorated, on a white ground, in golden lustr 
blue, the center with an heraldic statant lion, the 1 rim with a ] 
imbrications. 


| Baie Eon Se 
(Illustrated) _ z 


Se Date ne Lust Masouica ha OF THE Frereestat 


ieee Fibs oT 


* t a) ‘ wus 


85—Hisrano-Moreseve Fairnce Dish or THE FirrEENTH CENTURY 
Circular shape. Decorated, in copper lustre on a white ground, the 
central raised boss with an eagle and bands of scrolls, diapering and 
rosettes, the interior side with an inscription in Gothic letters and the 
rim with trefoils in relief and scrolled leaves and flowers. 


Diameter, 1534 inches. 


(Illustrated ) 


86—Pair or Casteiui (Aprvzz1) MasoricA ALBARELLI OF THE EIGHTEENTH 
CENTURY 
Cylindrical shape, with incurved sides, rims and feet. Decorated, on a 
white ground, in colors, with figure subjects of Noah on the summit of 
Mount Ararat and the Vision of Elijah in the Desert. By Carlo An- 


tonio Grue. 
Height, 15 inches. 


(Illustrated ) 


87—Farenza Masoxrica VAsE AND Cover OF THE SIXTEENTH CENTURY 


Pear-shaped body and removable cover modeled in the form of an owl 
with wings, the head forming cover. Decorated, on a white ground and 
in color, with feathers in relief and painted naturalistically. 


Height, 1634 inches. 


88—CaraccioLto Masonica Drrr DisH oF THE SIXTEENTH CENTURY 


Circular shape, with flat rim. Invested with a white glaze, and decorated, 
as to the center, with the figures of two soldiers in sixteenth century cos- 
tumes of yellow, orange, black, white and green. One holds a halberd, 
the other is girt with a sword. Blue background, flanked by convention- 
alized branches of flowers. Rim decorated in similar colors with alter- 
nate panels occupied by acanthus-leaf scrollings and imbrications. 


Diameter, 17% inches. 


S89—Asrta Minor Potrery PLATE oF THE SIXTEENTH CENTURY 


Circular shape, with curved rim. Invested with a white glaze and deco- 
rated, in blue and green, as to the center, with a cinquefoil medallion of 
white reserve occupied by a floral rosette and surrounded by five floral 
medallions separated by pear-shaped leaves in dark blue; as to the rim, 
with four medallions of white reserve, occupied by floral rosettes in blue 
on grounds of green hatchings separated by diapered panels of blue and 
brown hatchings. 

Diameter, 21 inches. 


86 


90—Savona MasouicaA PLATE OF THE SEVENTEENTH CENTURY 
Circular shape, with flat rim. Decorated, on a white ground, in blue, 
with a landscape, trees and grotesque figures accompanied by a cow and 


a dog. 
Diameter, 1814, inches. 


From the Marcuard Collection, Florence. 


(Illustrated ) 


91—Prsaro Masorica Dish oF THE SIXTEENTH CENTURY 
Circular shape, with flat rim. Decorated, on a white ground, in colors, 
as to the center with two standing figures of soldiers in striped jerkins, 
and as to the rim with alternate bands of diapered imbrications, and 


voluted scrolls. 
Diameter, 17 inches. 


(Illustrated ) 


92—-Prersian Porrery TasLte Tor oF THE SEVENTEENTH CENTURY 


Circular shape. Formed of sixteen radiating sections. Decorated, on 
a white ground, in colors, with radiating arabesques of scrolled pointed 
leaves and volutes of serrated leaves, all in the Saracenic manner, with 
bands of interlacements and with a central starred medallion. 


From the Dal Zotto Collection, Venice. 


(Illustrated) 


93—Savona Magoxrica VASE OF THE SEVENTEENTH CENTURY 


Pear-shaped body, incurved neck, spreading circular foot, scalloped rim 
and looped handles with mask terminations. Decorated, on a white 
ground, in colors, with Putti and Amorini. 


From the Marcuard Collection, Florence. 


934—Lopt Masouica VASE AND CovVER OF THE EIGHTEENTH CENTURY 


Pear-shaped body, with domed cover and ball finial; scrolled escutcheon- 
shaped handles with leaf terminations. Cylindrical stem and molded 
circular foot. Invested with a white glaze and decorated with floral 
festoons in relief, depending from scrolled mask medallions, and with 
marbling in blue and yellow. 

Height, 22 inches. 


90 91 


Incurved cylindrical bodies, naar circular ie a ae 
Decorated, on a white ground, in colors, with figure subjects, 
landscapes with deer. Rese shape Ie finials. B 
Antonio Grue. ate : ao 


ip 


a bseeeea 2 


» 


Standing figure of the Virgin, glazed in yellow robe, with 
chief and blue mantle and hood stained ae ae 


> ¥ 


Prom nes rae Henry Collection, Lone e Be 


(Illustrated Ve: tile a 


¢ 
SS; i 
* 


i, 


Soke. 


MANNE 


96—Casretir (Apruzz1) Masorica PuarmMacy Vase oF THE EiGHTEENTH 
CENTURY 

Pear-shaped body, incurved neck and flat looped handles. Decorated, 

on a white ground, in colors, with a subject of warrior on horseback 

threatening a cripple with his drawn sword, with scrolls and the name 


of the drug in a panel. 
Height, 194%, inches. 
(Illustrated ) 


97—Karuy Frorentinet Masonica Orcio or Orn Jar, SixrEENTH CENTURY 
Pear-shaped body, with horizontal ribbings, incurved neck and two flat 
looped handles. Decorated, on a white ground, in colors, with scrolled 
leaves and flowers and medallions and with an egg-shaped escutcheon 
charged with the Medici coat-of-arms. With cylindrical and rectangular 


molded pedestal. 
Height, 24 inches. 
From the Marcuard Collection, Florence. 


(Illustrated ) 


98—Tuscan Magouica Orcio or Orr Jar oF THE SixTEENTH CENTURY 
Pear-shaped body, with horizontal ribbing, incurved neck, two projecting 
spouts and two flat looped handles. Mottled green-glazed body, deco- 
rated with a scrolled egg-shaped escutcheon charged with the coat-of- 
arms of a patrician family. 
Height, 35 inches. 
From the Marcuard Collection, Florence. 


(Illustrated ) 


99—Earty Caraccioto Masouica Tite or THE FIFTEENTH CENTURY 


Rectangular shape. Decorated, with a portion of “The Flight of 
Darius,” in colors, on a white ground, and lined so as to simulate mosaic. 
This tile shows a portion of a horse’s trappings consisting of a deer’s 
head from which issues a beaded pendant, while from its horns, fastened 
by scrolled ribbons, depends a conventionalized festoon of flying birds. 


Height, 15 inches; width, 15 inches. 


Note: This and the following came from the celebrated collection of Senator 
Monteverde of Rome, the eminent sculptor, who died about four years ago. 


(Illustrated ) 


100—FEartiy CaraccioLto Masouica Tine oF THE FirreenrH Cenrury 
Rectangular shape. Decorated, on a white ground, in colors, and lined 
so as to simulate mosaic, with portion of “The Flight of Darius,” show- 
ing a horse’s head and two heads of turbaned warriors, one representing 
Darius with an expression of horror. 
Height, 15 inches; width, 15 inches. 


(Illustrated) 


101—Greco-Roman Guass UNGUENTARIUM OF THE FirrH CENTURY B.C. 


Opaque white glass. Columnar shape, with looped handles. Decorated, 
in brown, with horizontal lines and zigzags. 


- 


Length, 45, inches. 


102—Greco-Roman Grass UNGUENTARIUM OF THE FirrH Crenrury B.C. 


Opaque white glass. Columnar shape, with looped handles. Decorated, 


in brown, with horizontal lines and zigzags. 
Length, 4 inches. 


103—Greek Gitt Terra-corra Bas-RELIEF 


Head of Pallas, formerly termination of term. Face gilt, hair painted. 


Height, 6 inches. 


104—Two Greek Grrr Terra-corra Bas-RELIEFS OF THE SECOND CENTURY 
BC 


Heads of Venus, with flowing locks and chiton over left shoulder. Ar- 
ranging her hair with left hand. Traces of gilding. 
Height, 6, inches. 


cP S watt 
poor 


Gore 
Eres ee 
Soe my xy) gy 
2S Ck 
Meee yy 


cn ¢ gautwss 
ay tee Fa 
cee 2 ae % PCT, 7 ue 


Pim mares 


100 


105—Farnza Trrra-cotta Bust oF THE SIXTEENTH CENTURY 
Portrait of a youth with classic robe, knotted at the left shoulder. 


Glazed in the Della Robbia manner in dark brown. 
j Height, 9 inches. 


106—Tanacra Terra-cotra Figurine. Firru Century B.C. 


Full-length figure of a Woman Dancer. A young woman in a flowing 
diaphanous robe, which covers the lower part of the face in the manner 
of a yashmak or Oriental veil, stands erect in an attitude of dancing with 
one arm akimbo and the other across her breast. On rectangular molded 


pedestal. 
Height, 101/, inches. 


(Illustrated) 


107—Graco-Roman Terra-corta VAseE oF THE THmrp Century B.C. 
Pear-shaped body, with cylindrical neck and bulbous rim, surmounted by 
a figure leaning on a pedestal. At the sides, supported on modeled 
figures of rearing horses, are figures of winged Victories. Body deco- 
rated with Medusa’s head. Excavated at Canossa (Magna Grecia). 


Height, 30 inches. 
(Illustrated) 


108—Greco-Roman Terra-corra VAseE oF THE THrrpd Century B.C. 
Globular body, with three rectangular vertical projections, surmounted 
by figures with upraised hands. Body decorated with mask and festoon. 


Excavated at Canossa (Magna Grecia). 
Height, 32 inches, 
(Illustrated ) 


109—P air or Graeco-Roman Terra-cotrra VAsEs OF THE THIRD Century B.C. 


Pear-shaped bodies, cylindrical necks, spreading rims, flat looped handles 
and circular feet. Bodies decorated with modeled figures of Nereids 
and others. Excavated at Canossa (Magna Grecia). 


Height, 35 inches. 


~ 


110—Pair or Greek Terra-corra Borr_es oF THE SEconD Century B.C. 
Modeled as the figures of goats wearing cleft curved and pointed hats, 
with flat looped handles on back and cylindrical nozzle at breasts. On 
four rudimentary feet. Bodies incised with dashes. Excavated at Melos. 


Height, 6 inches; length, 7 inches. 
(Illustrated) 


111—Errvscan Trerra-corra Crarer Vase oF THE Second Century B.C. 
Pear-shaped body, incurved neck, domed circular foot and straight 
looped handles terminating in leaves. Decorated, on a black ground, in 
red and white, with a band of meander pattern with heart-shaped leaves 
and a figure subject of a knight on foot holding a spear and leading his 


horse, and standing in front of a seated woman. 
Height, 204%, inches, 
(Illustrated ) 


112—Errvuscan Terra-corra Crater Vase OF THE SEcoND Crentury B.C. 
Pear-shaped body, incurved neck, spreading circular foot and straight 
looped handles terminating in leaves. Decorated, on a black ground, 
in red and white, with a band of meander pattern with heart-shaped 
leaves and a figure subject of a Bacchanal dance with male and female 


Bacchantes and a Satyr. 
Height, 191% inches. 


(Illustrated) 


1138—Iraniax STONEWARE EWER OF THE SIXTEENTH CENTURY 
Pear-shaped body, with horizontal bulbous spout and twisted looped 
handle. Glazed in brown and decorated, in relief, with medallions and 


floral sprays and painted with floral scrollings. 
Height, 151% inches. 


114—Iranan Stoneware Ewer oF THE SIXTEENTH CENTURY 
Pear-shaped body, with horizontal bulbous spout and looped handle. 
Glazed in green and decorated, in relief, with medallions and floral sprays 


and painted with scrolled leaves and flowers. 
Height, 151% inches. 


Tit raat 


WROUGHT IRON OF THE FIFTEENTH, SIXTEENTH AND 
SEVENTEENTH CENTURIES 


115—VenetTIan WrovucGut-irRon Patntep AND GitT LANTERN OF THE LATE 
SIXTEENTH CENTURY 
Pear-shaped. Five glazed sides, with cresting and apron of painted and 
gilt wrought-iron leaves. 
Height, 14 inches. 


116—Parr or VENETIAN WrovuGHT-IRON WALL-BRACKETS OF THE SEVEN- 
TEENTH CENTURY 


Curved arms, formed of iron bars decorated with voluted scrolls of 
strap iron, voluted tendrils and wrought-iron oak leaves and supporting 
circular cages surrounded by curved oak leaves. Hooks for adjustment. 


Length, 13 inches. 


117—FLorRENTINE WrovuGHT-IroN WALL-BRACKET OF THE SIXTEENTH 
CENTURY 


Straight arm of strap iron terminating in wrought-iron trefoil and hay- 
ing above and below curved branches with pointed leaves and blossoms. 


Length, 15 inches. 


118—Parr or FLorentine WrovucuHt-rron Wari Licnts oF THE SIXTEENTH 
CENTURY 


Curved projecting arms of spirally twisted iron rods, with rectangular 

scrolled iron wall plates and pointed-leaf bases. Terminating in circular 

bobéches and sockets of clustered pointed leaves. ; 
Length, 1714, inches. 


119—Parir or FLorenNTINE ParinrED WRovUGHT-IRON CANDLE-BRACKETS OF THE 
SIXTEENTH CENTURY 


Brackets of scrolled and voluted strap iron, with flowers. Candle-sockets 
of wrought-iron leaves with pointed prickets. 
Height, 1 foot 4 inches. 


120—VENETIAN WrovuGHT-IRON CANDLE-BRACKETS OF THE SEVENTEENTH 
CENTURY 


Scrolled leaves and flowers of wrought iron, with circular bobéches and 
prickets. Gilded. 
Height, 21 inches. 


121—Parr or VeneTIAN Gitt WrouGHT-1IROoN CANDLE-BRACKETS OF THE SIx- 
TEENTH CENTURY 


Curved arms, with flowers and leaves in wrought iron and pear-shaped 
candle-sockets with leaf rims. Quatrefoil wall plates. Completely gilt. 


Height, 12 inches. 


122—FLorentTInt Goruoic WrovucuHtT-Iron CANDLE-STAND OF THE EaArty 
Firreentu CENTURY 


Cylindrical standard, terminating in pointed pricket and supporting 
two scalloped flat rings on curved and shaped iron rod brackets and 


circular stand with gauffered edge. 
Height, 22 inches. 


123——FLoRENTINE WrovuGHT-IRON PrickET CANDLESTICK OF THE FIFTEENTH 
CENTURY 


Triple columnar shaft with molded knop, on tripod stand with lions’ 
- heads and paw feet. Circular bobéche, with trefoil pendants and pointed 
pricket. 


Height, 171, inches. 


124—Pair or VENETIAN GILT WrovUGHT-IRON CANDLE-BRACKETS OF THE SIX- 
TEENTH CENTURY 
Curved arms, with wrought-iron pointed and acanthus leaves; pear- 


shaped candle-sockets with leaf rims. Completely gilt. 
4 Height, 16 inches. 


125—-FLorentixne Wrovent-iron Wart Licghr oF THE SIXTEENTH CENTURY 
Rectangular wall-plate, overlaid with wrought-iron acanthus leaves and 
with hook for adjustment. Double curved arm formed of a square iron 
bar decorated with voluted scrolls and spiral tendrils terminating in 
a volute and supporting a tapering square socket overlaid with wrought- 
iron oak leaves and having in front two curved arms with pulley wheel 


and a hook. Painted green. 
Length, 23 inches. 


126—FLorentine Gotruic WrovuGHt-1roN CANDLE-sSTAND OF THE EARLY 
Firreentu CrenturRY 
Cylindrical standard, terminating in pointed pricket and supporting 
two rings with vertical castellated sides on spirally twisted straight 
bar brackets. Circular dish-shaped stand. 
Height, 24 inches. 


127—FLorENTINE WrovGHT-IRON BRACKET OF THE SEVENTEENTH CENTURY 


Curved arm formed of a round bar iron ending in volutes and decorated 
with wrought-iron pointed acanthus leaves and floral rosettes. Leaves 
and rosettes gilded. Bracket painted black. 

Height, 25 inches. 


128—FLorentrine Wrovucutr-iron Watt CANDLE-BRACKET OF THE SIXTEENTH 
CENTURY 
Bracket of carved outline formed of scrolled and voluted strap iron 
with pointed terminations supporting straight horizontal arm ending 
in a circular bobéche and pointed pricket. Hooks for adjustment. 


Height, 27 inches; width, 171, inches. 


129—VeEneETIAN WrovucnHr-tron WALL-BRACKET OF THE SEVENTEENTH 
CENTURY 
Pear-shaped bracket of interlaced and voluted scrolls of bar iron 
decorated with repoussé acanthus leaves of wrought iron, and with 
vertical wall plate of strap iron terminating in curved pointed leaves. 


Height, 26 inches; width, 26 inches. 


130—Ser or Turee Venetian Wrovuent-tron Watt Licnut Brackets or 
THE SixTeEENTH CENTURY 
Horizontal iron bars with curved ends and spirally twisted brackets 
shaped and terminating in fleur-de-lis finials. The horizontal bars 
terminate in rectangular cages of strap iron with pointed-leaf bases, 
while from the angles depend adjustable iron rods with hooks. 


Length, 29 inches. 


131—Ser or TuHree Venetian Wrovcut-iron Wari Licur Brackets oF 
THE SIXTEENTH CENTURY 
Horizontal iron bars with curved ends and spirally twisted brackets 
shaped and terminating in fleur-de-lis finials. The horizontal bars 
terminate in rectangular cages of strap iren with pointed-leaf bases, 
while from the angles depend adjustable iron rods with hooks. 


Length, 29 inches. 


1382—VenetTIAN Wrovcur-iron Bracker oF THE SIXTEENTH CENTURY 
Curved and voluted arm of strap iron decorated with wrought-iron oak 
leaves and pointed serrated leaves and terminating in a pear-shaped 
head formed of clustered pointed leaves and cinquefoil blossoms with 


pointed finial. 
Length, 31 inches. 


1383—VeneTiAN Wrovcut-1ron Wai Licht Bracket oF THE SIXTEENTH 
CENTURY 

Escutcheon-shaped bracket, formed of interlaced scrolls of strap iron 

terminating in fleurs-de-lis and decorated with applied roses of wrought 

iron. The bracket supports a carved iron bar and tapering cylindrical 

cage with open side of rosetted strap iron terminating in fleurs-de-lis. 


Hooks for adjustment. 
Height, 25 inches; length, 32 inches. 


134—Wrovenut-iroxn Wart Ligur Bracker or THe Firrerenru Century 
Arm formed of a tapering square iron bar with voluted scrollings of 
strap iron and pointed leaves. Cylindrical basket, having open sides 
of strap iron with pointed-leaf terminations, pointed-leaf pear-shaped 
pendant and pointed pricket. With hook for adjustment. 


Length, 25 inches. 


135—VeENETIAN WrovucHt-troN Hanoing LANTERN OF THE SEVENTEENTH 
CENTURY 

‘Tapering hexagonal shape with domed top and pear-shaped base. Sides 

glazed with roundels of colored glass. Of voluted wrought-iron straps. 


Height, 35 inches, 


136—Pair or SIENESE GotTHic WrovuGHT-IRON Watt LAmMpPs oF THE EARLY 
FIFTEENTH CENTURY 


Triangular brackets, formed of twisted iron bars with braces formed 
of twisted rods terminating in serpents’ heads. Cylindrical baskets 
formed of eight voluted iron straps with horizontal twisted iron bars 
and straps. In the centers are twisted iron prickets and below are 
curved hooks of iron bars. 


Length, 26 inches. 
From a Palace in Siena. 


137—Pair or SIENESE WrovuntT-1ron Hitcuine BRACKETS OF THE FIFTEENTH 
CENTURY 


Brackets with straight and curved arms. Fitted with sliding bars ending 
in quatrefoils and with rings for hitching horses. 
Length, 2 feet 8 inches. 


1388—Venetian Girt Wrovent-rron Bracket LANTERN OF THE SEVEN- 
TEENTH CENTURY 
Triangular bracket of two branches of acanthus leaves, supporting an 
octagonal glazed lantern, with molded vertical ribs terminating in 
acanthus leaves, domed foot of scrolled acanthus leaves, and ogee- 
shaped top of scrolled acanthus leaves, flowers and pointed leaves. 


Fitted for electric light. 
Height, 50 inches. 


From the Marcuard Collection, Florence. 


139—Pair or Srenesr Wrovcut-iron Hircuinc Brackets or THE Fir- 
TEENTH CENTURY 

Brackets with straight and curved arms ending in stags’ heads with 

antlers. Fitted with sliding bars with rings for hitching horses outside 


the Palace. 
Length, 2 feet 8 inches. 


140—Venetian Wrovcut-ron Bracket oF THE SIXTEENTH CENTURY 
Curved and voluted arm of strap iron decorated with wrought-iron oak 
leaves and pointed serrated leaves and terminating in a pear-shaped 
head formed of clustered pointed leaves and cinquefoil blossoms with 


pointed finial. 
Length, 31 inches. 


140s—Patir oF VENETIAN Gitt WrovcutT-tron Watt Brackets OF THE SIX- 
TEENTH CENTURY 
Curved arms, with wrought-iron acanthus leaves and flowers. Leaf- 


encircled hooks. 
Length, 35 inches, 


1408—FLoRENTINE WRrROUGHT-IRON AND Guass LANTERN OF THE SIXTEENTH 
CENTURY 
Cylindrical shape, with conical top and glazed sides. Formed of straps 
of wrought iron with hinged door. 


141—VewnetTiAn Parnrep Wrovcut-rron “Goop-Luck” SHop SIGN OF THE 
SEVENTEENTH CENTURY 
Oval shape of two cornucopie of flowers, enclosing two hunchbacks danc- 
ing and clasping hands and invoking “good luck” on all. Painted 
naturalistically. With three tassels. Fitted for electric light. 


Height, 3 feet 1 inch; width, 3 feet 6 inches. 


142—Parr or FLoreENTINE Brass anv Bronze ANDIRONS OF THE SIXTEENTH 
CENTURY 
Ball-shaped brass standards on cylindrical stems and bronze supports 


cast with female masks and scrolled dolphin feet. 
Height, 9 inches. 


143—Patrr oF FLorENTINE WRrRoOUGHT-IRON AND Brass ANDIRONS OF THE SIX- 
TEENTH CENTURY 
Octagonal standards with brass ball finials, hooks with brass finials and 
voluted iron side scrolls. On voluted legs of strap iron. 


Height, 1 foot 10 inches. 


144—Parr oF VENETIAN WROUGHT-IRON FIRE-TONGS OF THE SIXTEENTH 
CENTURY 
Of strap iron, hinged in center with fall-down spikes. Frilled decoration. 


Length, 35 inches. 


144,—Parm or VENETIAN Bronze ANDIRONS OF THE SIXTEENTH CENTURY 


Pear-shaped standards, modeled with flutings, masks, and the arms of 
Pope Urban VIII (Prince Barberini), supporting balls modeled as 
bodies and pointed flame finials. On triangular pedestals modeled with 
masks and sphinxes’ heads. Scrolled and voluted feet of strap iron, 


Height, 2 feet 514 inches. 


Note: In a very remarkable state of preservation, with a fine patina. 


145—Pair oF FLORENTINE WrROUGHT-IRON WALL-BRACKETS OF THE LATE Srix- 
TEENTH CENTURY 
Volutes of strap iron, with wrought-iron flowers, leaves and candle- 


sockets. Gilded. 
Height, 2 feet 5 inches. 


146—Umeprianx Gitr Wrovent-trox Bracket oF THE SIXTEENTH CENTURY 


Bracket of scrolled and voluted bar iron with gilt pointed and acanthus 
leaves and circular candle holder supported by gilt leaves. Finial with 
heraldic gryphon holding a key. 
Height, 50 inches. 
(Illustrated) 


147—Pairr or Tuscan WrovenHt-trox axp Bronze ANDIRONS OF THE 
FirTeentH CENTURY 
Incised cylindrical and twisted knopped standards, with spirally incised 
hooks. Elaborately wrought-iron floral finials. Incised arched strap- 
iron bases filled with strap-iron trefoils and straight iron bars. 


Height, 291% inches. 
(Illustrated ) 


148—Parr or FLorentixne Wrovent-irox ANDIRONS OF THE FIFTEENTH 
CENTURY 
Square and cylindrical standards, with molded knops and scrolled and 
voluted strap-iron brackets. Coupe-shaped baskets of twisted iron bars, 
voluted strap-iron bases and arched feet of strap iron. 


Height, 34 inches. 
(Ulustrated) 


149—FLoreNTINE Gotruic WrovcHt-1ron Pricket TorcHERE OF THE Early 
FIFTEENTH CENTURY 
Cylindrical knopped stem, basket with straight sides and spreading rim 
supported by shaped flat iron brackets with strap-iron ring, pointed 
pricket and tripod stand of three curved iron rod legs. 


Height, 54 inches. 
(Illustrated) 


146 


148 


149 


148 


147 


150—Pair or Tuscan Wrovent-tron anv Bronze ANpIRoNS . : ; 
Firreentu aha 


bronze ball finials. Arched strap-iron bases filled with quat) 
strap iron and straight iron bars. 


(Illustrated) 


151—Parr or Fiorentine Wrovent-iron anp Brass Axoinoxs, i 
Seventreentax CENTURY 


Double pear-shaped standards of brass with turned Dell's 


foils. Wrought-iron bars. 


152—Pair or Frorentixne Wroverttrox ANDIRONS OF THE, 
Octagonal standards, with baskets of twisted iron bars; 
bands. Below are swinging rings of twisted iron and five 
hooks. Curved feet, with scrolls of strap iron and wrot 


(Illustrated) 


153—Pam oF FiorENtTinE WrovGHtT-1RoN AnD Brass . 

Sixteentse Century ae 

-Tapering spirally twisted standards, with areal pointed D 
round arched supports of strap iron and ee hooks. 

iron bars. | 


150 


154—Parr or Frorentine WrovucnHt-iroN ANDIRONS OF THE SIXTEENTH 
CENTURY 
Tapering octagonal standards, with ball finial and arched supports 
of bar iron with spreading feet. In front, four hooks on strap-iron 
supports. Wrought-iron bars. 
Height, 29 inches. 


Par or FLorENTINE WrovGHtT-IRoN ANDIRONS OF THE SIXTEENTH 
CENTURY 


155 


Flat leaf-shaped and tapering square standards, terminating in circular 
baskets with sides of curved and spirally twisted iron bars. On scrolled 
and voluted supports of strap iron with spreading feet. Two leaf- 


shaped hooks. Wrought-iron bars. 
Height, 31 inches. 


156—Pam or Tuscan WrovGHtT-IRON AND Bronze ANDIRONS OF THE 
FIFTEENTH CENTURY 
Incised square, octagonal, cylindrical and twisted knopped standards, 
with rectangular abaci and with octagonal and twisted hooks and bronze 
ball finials. Arched strap-iron bases, filled with incised trefoils of 
strap iron and straight iron bars. 
Height, 331% inches. 


157—FLorENTINE WROUGHT-IRON CANDLESTICK OF THE SIXTEENTH CENTURY 
Tripod form, with three straight legs of spirally twisted iron and three 
rising stretchers to match, terminating in a circular shelf having, as 
finial, a wrought-iron flower with pointed leaves and twisted wire stamens. 
The tripod supports a tapering pierced iron candle-socket with a base 


of wrought-iron leaves. 
Height, 48 inches. 


158—Pair oF FLorentine WrovGHT-1RON CANDLESTICKS OF THE FIFTEENTH 
CENTURY 
Square spirally twisted supports, with circular saucer-shaped bobéches 
and cylindrical candle-sockets with voluted strap-iron sides. Tripod 
bases of three curved bar-iron legs with flat spreading feet. 


Height, 53 inches. 


159—FLorENTINE WrovcnHt-iroN TorcHERE OF THE SIXTEENTH CENTURY 
Octagonal standard of bar iron, with scrolled trefoil-shaped knops of 
strap iron, circular flat bobéche supported by scrolled trefoil-shaped 
brackets, iron pricket and base of four scrolled and voluted strap-iron 


legs. 
Height, 58 inches. 


160—FLorENTINE WRrROUGHT-IRON FIRE-SCREEN OF THE SIXTEENTH CENTURY 


Straight square bar-iron standards, with baskets of twisted iron bars and 
swinging rings of twisted iron. Stems decorated with voluted leaves and 
straps and with twisted iron hooks. Horizontal square upper bar, 
with voluted scrolls and wrought-iron flower and leaves as finial, flat 
voluted lower bar and trefoil curved feet of strap iron. 


Height, 361%, inches; width, 49 inches. 


161—Patrr or FLorRENTINE WRrOUGHT-IRON WaALL-BRACKETS OF THE LATE 
SIXTEENTH CENTURY 
Volutes of strap iron, with wrought-iron flowers and leaves. Gilded. 


Height, 4 feet 2 inches. 


162—Parr or FLoRENTINE WROUGHT-IRON WALL-BRACKETS OF THE LATE 
SIXTEENTH CENTURY 
Volutes of strap iron, with wrought-iron flowers and leaves. 


Height, 4 feet 2 inches. 


163—Parr or FLorENTINE WRroOUGHT-IRON WALL-BRACKETS OF THE LATE 
SIXTEENTH CENTURY 
Volutes of strap iron, with wrought-iron flowers and leaves. Gilded. 


Height, 4 feet 3 inches. 


164—FLorentixe Gornic Wrovucur-1ron ToRCHERE OF THE | 
FirreEentH CENTURY 


Straight square standard, with rectangular molded knop cz 
of four flat iron straps encircled by horizontal bands, and t : 
of three curved iron legs with flat spoon feet. 


From the old Simonetti Collection, Rome. 
(Illustrated) 


165—FLoreENTINE GotrHic WrovucHtT-rron TorcHERE OF 
FirtreentH CENTURY 


Cylindrical molded standard with eight ball knops. 
iron straps encircled by horizontal bands and ines 
straight strap-iron legs with pointed feet. 


CENTURY 


Standard of twisted iron rod with ball knop, basket top, ; 


From the old Simonetti Collection, Rome. 
(Illustrated) 


166 165 


167—Pamr or Fiorentine Gotruic WrovucHtT-1tron CANDLESTICKS OF THE 
Earzty FirrEENtH CENTURY 

Formed of two flat iron rings supported by brackets of three twisted 

iron rods, pointed prickets and tripod stands with triangular plates 


of curved strap-iron feet. 
Height, 24 inches. 


(Illustrated ) 


168—F LorentInE Goruic WrovucutT-iron TorcHire oF THE Earty Fir- 
TEENTH CENTURY 

Cylindrical knopped standard, with circular bowl supported by brackets 

with knopped and curved projections, brass bowl, two-tiered candle- 

socket of strap iron and tripod stand of three spreading straight iron- 


bar legs with flat pointed feet. 
Height, 59 inches, 


(Illustrated) 


169—Pair or Gotruic Wrovent-1ron PricketT TorcHERES OF THE Earty 
FirreentH CENTURY 
Cylindrical knopped standards, circular bobéches, pointed prickets and 
tripod stand formed of three curved and voluted legs of strap iron. 


Height, 45 inches. 
(Illustrated ) 


170—Pair or FiorentTINE GoTHic WrovUGHT-IRON 'TORCHERES OF THE Kary 
FIrTEENTH CENTURY 
Cylindrical knopped standards, conical baskets formed of looped iron 
rods with horizontal rings of strap iron. Candle-sockets of voluted 
strap iron and tripod stand of three straight legs with spoon feet. 


Height, 64 inches. 
From the Marcuard Collection, Florence. * 


(Illustrated ) 


171—FLorENTINE WrovcGuHT-1IRoN PrickeT TORCHERE OF THE FIFTEENTH 
CENTURY 
Cylindrical knopped standard, conical basket formed of straight iron 
rods with knobbed and curved projections, flat iron ring, pointed pricket 
and tripod stand of three straight iron bars with flat feet. 


From the Marquis Peruzzi-De Medici Collection, Florence. 


(Illustrated) 


172—FLoRENTINE WrovucGuHutT-1ron ToRCHERE OF THE FouRTEENTH CENTURY 


Octagonal standard, with two knops of outcurved pointed leaves, square 
collar, pointed pricket and tripod base of three curved legs of bar 


iron with notched spreading feet. 
Height, 68 inches. 


173—Patir oF FLORENTINE WROUGHT-IRON WALL-BRACKETS OF THE LATE SIx- 
TEENTH CENTURY 


Volutes of strap iron, with wrought-iron flowers and leaves. Gilded. 


Height, 5 feet 2 inches. 


174—Tuscax Wrovent-1r0nxn Haneine Lanrern oF THE Fivreentu Century 
Hexagonal shape. Body with glazed round-arched hinged door and 
sides and detached columns of twisted iron at the angles with leops and 
swinging rings. Cresting wrought with volutes and leaves, pinnacle 
top repoussé with bosses, and twisted cylindrical iron finial with three 
wrought-iren Florentine fleurs-de-lis, 


Apron of volutes and leaves and 
pendant of flowers and leaves. 


Height, 30 inches, 


175—VENETIAN WrovUGHT-IRON CHANDELIER OF THE FIFTEENTH CENTURY 
Vase-shaped, with square iron-bar stem with pointed-leaf finial and 
horizontal arms of scrolled and voluted strap iron supported by a 
wrought-iron chain with lower arms of scrolled and voluted iron bars 
decorated with voluted scrolls, fleurs-de-lis and blossoms of strap and 
wrought iron. Hung with large contemporary silk and gold-thread 


tassels and suspended by a silk and gold-thread rope. 
Height, 25 inches. 


a ——_+ = 


176—FLoRENTINE WrovuGHT-IRON CHANDELIER OF THE FIFTEENTH CENTURY 


Circular shape. Sides with scrolled leaves and cross. Four candle- 


sockets, separated by four pointed prickets. Iron chains for suspension. 
(Rare. ) 


Diameter, 22 inches. 


177—FLorENTINE WrovuGHT-IRON CHANDELIER OF THE FIFTEENTH CENTURY 


Circular shape. Sides with scrolled leaves and cross. Four candle- 


sockets, separated by four pointed prickets. Iron chains for suspension. 
(Rare. ) 


Diameter, 22 inches. 


178—F LorENTINE WrovucuHT-iRoN CHANDELIER OF THE FirrEENTH CENTURY 
Circular shape. Sides with scrolled leaves and stalks. Seven candle- 
sockets, separated by seven pointed prickets. Wrought-iron chains for 


suspension. (Rare.) 
Diameter, 34 inches. 


179—VeneTian Cut-ciass and Gitt Bronze CHANDELIER OF THE SEVEN- 
TEENTH CENTURY 

Gilt metal ring hung with cut-glass drops and with eight curved branches 

for lights, hung with drops. Domed top of cut-glass medallions sup- 

ported by five cut-glass fluted columns and surmounted by eight feathers 


of glass. Wired for electric light. 
Height, 3 feet 4 inches. 


180—FLorentTINE Copper anp WrovucutT-tron WasHSTAND OF THE SIx- 
TEENTH CENTURY 

Circular cage, with round iron-bar rim and curved strap-iron sides on 

tripod stand of three curved and shaped round bar-iron legs with 

flattened feet. Circular copper wash basin with curved gadrooned rim 

and hanging water receptacle of copper with pear-shaped fluted body, 

cylindrical rim repoussé with acanthus-leaf scrolls, semicircular ears 
repoussé with masks and iron bail handle. 

Height, 39 inches. 


From the Marquis Peruzzi-De M edici Collection, Florence. 


181— VENETIAN WroUGHT-IRON WALL JARDINIERE OF THE SIXTEENTH 
CENTURY 


_ Bracket with two hooks for adjustment. Cornucopia-shaped body of 
strap iron with voluted ends, scrolled bracket of strap iron and annular 
rim. This encloses a vessel of metal painted, in colors, with a pattern, on 
a white ground, of a trellis entwined with flowers and leaves. In front 


hangs an iron grapple having three curved arms with heart-shaped ter- 
minations. 


Height, 3717, inches. 


182—Tuscan WrovucHtT-tron AND Copper WaAsHsTAND OF THE FIFTEENTH 
CENTURY 
Rectangular standard, with molded knop, and projecting shell-shaped 
soap dish, scrolled and voluted arms and circular contemporary copper 
basin with domed cover having two swinging looped handles. Tripod 
base, formed of three curved and voluted legs of strap iron. 


Height, 37 inches. 
(Illustrated ) 


183—FLoRENTINE WROUGHT-IRON AND Copper WaASHSTAND OF THE SIX- 
TEENTH CENTURY 

Standard formed of three curved iron bars decorated with volutes of 
strap iron, with four voluted arms from one of which springs a straight 
twisted iron arm with flat iron bracket, on a tripod stand of three 
straight iron bars with voluted feet. Arms support a copper basin 
with gadrooned body and swinging ring and from bracket above hangs 
a pear-shaped gadrooned fountain, with bail handle and brass tap. 


Height, 68, inches. 
From the Marcuard Collection, Florence. 


(Illustrated) 


182 


183 


184—FLorentTInE Wrovent-iron Fovur-post Brp oF THE SIXTEENTH 
CENTURY 
Open head of knopped baluster-shaped columns, with triangular cresting 
of scrolls, volutes and flowers, hexagonal knopped posts with floral 
finials inspired by the Florentine fleur-de-lis, straight sides and arched 
feet. Original sixteenth century hangings, made expressly for this 
bed, of white linen embroidered in red silk, with bands of ornament. 


Height, 9 feet 5 inches. 


Note: So far as known, the only other example resembling this is in the Cleveland 
Museum and came from the celebrated Marquis Peruzzi-De Medici Collection. 


(Illustrated) 


1844a—Parr oF FLorRENTINE PatntTED Wrovcut-Iron Winpow SCREENS OF 
THE SIXTEENTH CENTURY 


Heart-shaped screens of scrolled and voluted wrought-iron straps painted 
green, decorated with spiral tendrils and applied gilt serrated edged 
leaves of wrought iron, enclosing oval medallions occupied with Maltese 
crosses painted red and white, surrounded by wrought-iron wreaths of 
laurel leaves and berries and surmounted by gilt crowns. 


Height, 24°, inches; width, 38 inches. 


185—Parmr or FLorRENTINE WrovucnHutT-1ron Window ScREENS OF THE SIx- 
TEENTH CENTURY 


Rectangular shape. Filled with diamond-shaped. trellis-work of iron 
straps with wrought-iron quatrefoils at the intersections. Top of flat 
arched form filled with volutes of strap iron. 


Height, 46 inches; width, 80 inches. 


186—Parr or FLorentinr Wrovucut-tron CHANCEL GATES OF THE SIx- 
TEENTH CENTURY 


Rectangular shape with scrolled crestings. Gates formed of panels of 
wrought-iron bars occupied by quatrefoils of voluted scrollings, hex- 
agonal figures, volutes and spirally twisted tendrils of strap iron. 
Cresting of voluted scrollings enclosing the initials “S.D.” in strap iron, 
meeting bar with vase-shaped finial and two Maltese crosses of wrought 


iron. Painted green. 
Height, 34 inches; width, when closed, 34 inches. 


187—SeET or SEVEN WrovucutT-1ron Convent Window JALousIES. FIFTEENTH 
CENTURY 


Rectangular shape, with voluted lower portions. Strap-iron frames and 
bodies, diapered with thin iron rods secured with molded collars and 
appliqués with pointed-leaf quatrefoils of iron. 


Heights, 61 and 331/, inches; widths, 62 inches. 


Srmerereunett a ea ee 


Aptian OR oe 


KES GE SS 4 
eI Hl RE ER Ne a Ria nae mem 


S eauanicere te 


No. 1883—FLORENTINE WROUGHT-IRON FOUR-POST BED OF THE 
SIXTEENTH CENTURY 


SECOND AFTERNOON’S SALE 
THURSDAY, APRIL 22, 1920 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


ARMS AND ARMOR 


188—FLorENTINE ToRTOISE-SHELL PowpER “HorN OF THE SIXTEENTH 
CENTURY 
Conical shape, with fluted sides and brass sprung powder charger. 


Height, 9 inches. 
From the old Simonetti Collection, Rome. 


189—Par or Iranian Furtiock Pisrots or THE Earty SEVENTEENTH 
CENTURY 
Walnut stocks, with silver butts and inlaid in a pattern of scrolls and 
dots. Steel barrel, damascened with gold and incised flintlock. 


Length, 17 inches, 


190—FLorENTINE STEEL HELMET oF THE SIXTEENTH CENTURY 


Pointed bowl-shaped headpiece with adjustable nose guard, pointed ear 
flaps and articulated neck apron. Riveted with round-headed rivets. 


From the old Simonetti Collection, Rome. 


191—Irantian Furntitock BLUNDERBUSS OF THE SEVENTEENTH CENTURY 


Walnut stock, carved with rosettes, scrolls and diapers, barrel dama- 
scened with engraved silver with spreading end and chased flintlock. 


Signed with maker’s name below trigger. 
Length, 24 inches. 


192—Irauran Fuintiock Pistou or THE Karty SEVENTEENTH CENTURY 


Plain walnut stock octagonal and cylindrical barrel and flintlock. 


Length, 15 inches. 


193—FLorRENTINE STEEL Morion oF THE LATE SIXTEENTH CENTURY 


Bowl-shaped headpiece of steel with pointed “fore-and-aft” turned-up 
brim and comb. Sides repoussés with the Florentine “fleur-de-lis.” 


From the old Simonetti Collection, Rome. 


194—FLoRENTINE Street Morion or THE LATE SEVENTEENTH CENTURY 


Pointed head-piece and spreading brim. 


From the old Simonetti Collection, Rome. 


195—Iravian STEEL Sworpd OF THE SixTEENTH CENTURY 
Octagonal iron handle, turned pommel, curved iron rod guard, straight 
quillons, basket chased with a winged dragon and scrolls, and hexagonal 


blade. 
Length, 49 inches, 
From the old Simonetti Collection, Rome. 


(Illustrated) 


196—Irawian STEEL Sworp OF THE SIXTEENTH CENTURY 
Leaf-molded iron wire encircled handle, ball-shaped chased pommel, 
spirally twisted guard, and straight quillons, basket chased with voluted 


scrolls and blade with series of chamfers. 
Length, 47 inches, 
From the old Simonetti Collection, Rome. 


(Illustrated) 


197—Irauian Street Sword OF THE SIXTEENTH CENTURY 
Cylindrical iron wire encircled handle, turned pommel, curved guard, 
straight quillons, plain basket and hexagonal blade. 


Length, 48 inches. 
From the old Simonetti Collection, Rome. 


(Illustrated) 


197 


195 


198—IrauiaAn STEEL Sworpd oF THE FIFTEENTH CENTURY 


Tapering iron wire encircled handle, rectangular pommel, pierced, 
wrought and chased with oval medallion of a combat, scrolled wrought 


and chased flat quillons. Flat blade. 
Length, 40 inches, 


From the old Simonetti Collection, Rome. 


(Illustrated) 


199—Iravian STEEL SworpD OF THE SIXTEENTH CENTURY 
Spirally twisted iron wire encircled handle, inverted pear-shaped pommel, 
curved quillons, basket of a coiled iron rod and grooved blade. 
Length, 46 inches. 
From the old Simonetti Collection, Rome. 


(Illustrated) 


200—Iranian STEEL SworD OF THE SIXTEENTH CENTURY 


Spirally twisted iron handle, octagonal pear-shaped pommel, scrolled 


quillons and basket of iron rods and chamfered blade. 
Length, 42 inches. 


From the old Simonetti Collection, Rome. 


(Illustrated) 


201—I ratiaAN STEEL SworD OF THE SIXTEENTH CENTURY 


Cylindrical iron wire encircled handle, pierced and wrought ball-shaped 
pommel, and curved guard, arched quillons, chased small basket and 


chamfered blade. 
Length, 41 inches. 


From the old Simonetti Collection, Rome. 


(Illustrated) 


202—-FLoRENTINE PRoceEssionaL PartTizAN OF THE SIXTEENTH CENTURY 


Steel blade, pointed, shaped and stamped “rrpEerTas,” and octagonal 
socket. Octagonal haft, partly covered with amber-colored velvet, 
secured with brass-headed nails, and finished with silk tassels. 


Length, 111 inches. 
From the old Simonetti Collection, Rome. 


(Illustrated) 


199 


pene FTN ee 
po : 


eg 


LIBENTAS 


200 


203—ITraLIAN STEEL BREASTPLATE OF THE FIFTEENTH CENTURY 


Shaped and chased with vertical band of arabesque ornament and with 
shoulder borders of scrollings. Movable hip-piece, chased with band of 


scrollings. 
Height, 17 inches. 


204—ITraLIAN STEEL BREASTPLATE OF THE FIFTEENTH CENTURY 


Shaped and chased with three oval medallions of busts of knights in 
armor, with military trophy and scrolled acanthus leaves. 


Height, 16 inches. 


205—FLorRENTINE Iron BuckuerR oF THE SIXTEENTH CENTURY 


Circular shape, with rosetted spike in center. Decorated with cruci- 


form figure and border of rosetted brass studs. 
Diameter, 21 inches. 


From the old Simonetti Collection, Rome. 


(Illustrated) 


206—VENETIAN ProcEssioNAL HALBERD OF THE SIXTEENTH CENTURY 


Cast-iron head, with pointed fleur-de-lis decorated spike, pierced 
crescent-shaped blade, straight fleur-de-lis decorated beak, both engraved 
with incised lines, and cylindrical socket. Octagonal haft, covered 
with green velvet secured with brass-headed nails and finished with two 


gold-thread tassels. 
Length, 77 inches. 


From the old Simonetti Collection, Rome. 


(Illustrated) 


207—VENETIAN ProceEssioNAL HALBERD OF THE SIXTEENTH CENTURY 


Steel head, with flat pierced and pointed spike, pierced crescent-shaped 
blade, curved pointed beak, both engraved with incised lines and rosetted 
hook-shaped socket. Octagonal haft, studded with brass-headed nails 


and finished with velvet and gold-thread and silk tassels. 
Length, 94 inches. 


From the old Simonetti Collection, Rome. 


(Illustrated) 


208—FLorentTine PAarapE PARrvTIZAN OF THE SIXTEENTH CENTURY 
Tapering chamfered central spike, with two shaped flat blades. Silk 
tassel and octagonal staff, studded with brass-headed nails. 


Length, 6 feet 5 inches. 
From the old Simonetti Collection, Rome. 


(Illustrated) 


209—FLoRENTINE Compatr PARrTiIzZAN OF THE SIXTEENTH CENTURY 
Flat, tapering spike, crescent-shaped blades, silk tassel and octagonal 


wooden staff. 
Length, 7 feet, 10 inches. 
From the old Simonetti Collection, Rome. 


(Illustrated) 


210—Venerian ParadrE PIKE OF THE SEVENTEENTH CENTURY 
Flat, pierced pear-shaped blade with pierced scrolled leaf knop and 
curved blade with wrought-iron flowers, silk tassel, tapering iron hood, 


and cylindrical wooden staff. 
Length, 7 feet 9 inches, 


From the old Simonetti Collection, Rome. 


(Illustrated) 


211—F LorentiIne ParavE HALBERD OF THE SEVENTEENTH CENTURY 
Tapering pierced central blade, with leaf knop, pierced crescent-shaped 
blade wrought with Putto’s head, and pierced curved point, silk tassel 


and octagonal wooden shaft. 
Length, 6 feet 8 inches. 


From the old Simonetti Collection, Rome. 


(Illustrated) 


212—FLorentinE Compat HaBerp OF THE SEVENTEENTH CENTURY 
Tapering chamfered central blade, semicircular scalloped blade and 
trident-shaped point, silk tassel and wooden shaft, studded with bands 


of brass-headed nails. 
Length, 6 feet 3 inches, 


From the old Simonetti Collection, Rome. 


(Illustrated) 


211 


213—FLoreENTINE Barrie Pike oF THE SIXTEENTH CENTURY 


Pointed ribbed blade, with scalloped base, turned-up points and cylin- 
driéal staff. 

Length, 8 feet 6 inches. 
From the old Simonetti Collection, Rome. 


(Illustrated ) 


214—VenetTian Barrie HaLserpd oF THE SEVENTEENTH CENTURY 
Tapering point, with pierced crescent-shaped blade, pierced spike, silken 
tassel and velvet-covered staff studded with brass-headed nails. 


— Length, 5 feet 6 inches. 
From the old Simonetti Collection, Rome. 


(Illustrated) 


215—VeNeETIAN ParavE Pike oF THE SIXTEENTH CENTURY 
Flat, pierced pear-shaped blade, with pierced wrought-iron rosette at 
base and two curved floral arms, looped knop below, silken tassel and 


octagonal wooden shaft. 
Length, 7 feet 7 inches. 
From the old Simonetti Collection, Rome. 


(Illustrated) 


216—FLorentiIneE Barrie ParrizaAN OF THE SEVENTEENTH CENTURY 
Molded cylindrical central spike, with two curved rectangular pointed 
arms, silken tassel and octagonal wooden shaft. 
Length, 7 feet 8 inches. 
From the old Simonetti Collection, Rome. 


(Illustrated) 


217—FLorentine Barrte HaLserp oF THE SEVENTEENTH CENTURY 
Long, tapering rectangular central spike, with two curved rectangular 
pointed arms, silken tassel and octagonal wooden shaft. 
Length, 8 feet 1 inch, 
From the old Simonetti Collection, Rome. 


(Illustrated) 


218—Venetian Processionan HALBERD OF THE SIXTEENTH CENTURY 
Steel head with long, tapering spike, crescent-shaped blade and curved 
beak both decorated with incised scrollings, square socket and molded 


square wood haft finished with silk tassels. 
Length, 71 inches. 
From the old Simonetti Collection, Rome. 


219—FLoRENTINE PrROcEsSIONAL RANSEUR OF THE SIXTEENTH CENTURY 
Steel head, with straight pointed blade and side blades, and octagonal 
socket. Octagonal wooden haft finished with red silk tassel. 


Length, 91 inches. 
From the old Simonetti Collection, Rome. 


217 


ye 214 


215 


220—Sieneset Srreer BANNER OF THE SIXTEENTH CENTURY 
Rectangular shape. Of brown and yellow silk sewn in a design of 
diagonally disposed rays with shields in opposite corners, one painted 
with a rampant hon, the other with a rose spray and caterpillar. 
Cylindrical staff, spirally wound with blue and yellow silk secured with 
brass-headed nails. On walnut base carved as a couchant heraldic lion. 


Height, 64 inches; width, 67 inches. 


From the old Simonetti Collection, Rome. 


221—SIENESE STREET BANNER ON SILK OF THE SIXTEENTH CENTURY 

Rectangular shape, of black and white silk fields, bordered by orange 
silk of a checkered pattern and of stripes, with stars and bordered on 
two sides with a band of counter-change trefoil pattern. In the center 
is a painted shield charged with the coat-of-arms of the City of Siena 
(Romulus and Remus with Wolf), similar to that of Rome, of which Siena 
was a colony. Cylindrical staff, spirally wound with black and white 
ribbons secured with brass-headed nails. On walnut base carved as a 
couchant heraldic lion. 


Length, 67 inches; width, 66 inches. 


From the old Simonetti Collection, Rome. 


222—SIENESE STREET BANNER ON SILK OF THE SIXTEENTH CENTURY 

Rectangular shape, of black and white silk sewn in diagonally divided 
fields bordered by a band of barber’s pole pattern, edged with orange- 
colored silk. In the center is a shield bordered by red and white crosses 
on alternate white and red fields, painted with the arms of the City of 
Siena (Romulus and Remus with the Wolf). Cylindrical staff, spirally 
wound with black and white ribbons secured with brass-headed nails. 
On walnut base carved as a couchant heraldic lion. 


Length, 64 inches; width, 64 inches. 


From the old Simonetti Collection, Rome. 


223-——Parr or Tuscan Gitr anp Patnrep Iron Banner HoLpEers OF THE 
FirreentH CENTURY 

Formed as conventionalized lions holding rings in their forepaws and 

supported by scrolled brackets, on molded wooden rectangular pedestals. 


Gilt and painted. 
Height, 251, inches. 


(Illustrated) 


224—Two SrenNESE STONE AND WROUGHT-IRON STANDARD-HOLDERS OF THE 
Earzty FirrerentrH CEentTury 
Rectangular-shaped bases, carved with Gothic leaves. Wrought strap- 


iron holders for flags. 
Height, 17 inches; width, 13 inches, 


From the old Simonetti Collection, Rome. 


(Illustrated) 


224 


225—SIENESE WROUGHT-IRON STANDARD-HOLDER OF THE FIFTEENTH CENTURY 
Double curved stem of a spirally twisted iron rod, with cylindrical sockets 


incised with a diamond diaper. 
Height, 1 foot & inches. 


ne 


a3 


“ 


, & 
: 
' 

i. 


226—FrencH Gornic Wroveut-iron Lock PLaTE or THE Earty Four- 
TEENTH CENTURY 
Rectangular shape with molded frame, Elaborately wrought on either 
side with figures of saints in niches under niches of Gothic arches with 
three square buttresses and crocketed finials. Center with hinged plate, 
in two panels, the upper one wrought with late Gothic arch filled with 
pointed arch tracery and with molded finial, the lower wrought with 
a heraldic shield surmounted by a crown and charged with the arms of 
the Orleans family (three fleurs-de-lis). Key with cylindrical barrel and. 
circular handle pierced and wrought with rose-shaped Gothic tracery. 


Height, 5 inches; width, 4 inches. 


= “Te 


= 


Ye RE: Fh 


eeu 
we 


y 
L 
tL 
= 


bros aan ER RENEE NEES RE 


227—FrReENcH GortrHic WrovucGutT-1ron Lock PLATE oF THE Earty Fovur- 


TEENTH CENTURY 


Rectangular shape, with molded frame. Divided into three vertical 
panels on either side, the outer ones and band at foot filled with Gothic 
tracery, the inner ones with figures of saints standing on wrought brackets 
under Gothic canopies, and with Gothic tracery below. The hinged 
center wrought with a figure of the Virgin holding the Child Christ 
under an elaborate pinnacled canopy flanked by Gothic buttresses with 
crocketed finials and with a panel below of an heraldic shield surmounted 
by a crown and charged with the coat-of-arms of the Orleans family 
(three fleurs-de-lis). Key with cylindrical barrel and circular handle 


pierced with Gothic rose tracery. 
Height, 91, inches; width, 71%, inches 


BRONZES OF THE FIFTEENTH AND SIXTEENTH 
CENTURIES 


228—Tuscan Bronze BeLt oF THE SIXTEENTH CENTURY 
Incurved cylindrical body, with molded foot and handle formed of three 
scrolled acanthus leaves. Body decorated, in relief, with playing Amo- 


rini; vases with eagle and wolf and diapery festoons. 
Height, 4 inches. 


229—Tuscan Bronze BELL OF THE SIXTEENTH CENTURY 
Incurved cylindrical body, with molded foot and handle formed as three 
standing Putti. Body decorated with winged gryphons, scrolled escutch- 
eons charged with coat-of-arms and bands of honeysuckle and acanthus- 


leaf ornamentation. 
Height, 5 inches. 


230—Tuscan Bronze BELL OF THE SIXTEENTH CENTURY 


Incurved cylindrical body, with molded foot and flat pierced handle. 
Body decorated, in relief, with medallions of figures and acanthus-leaf 
rinceaux. 

Height, 5 inches. 


231—Tuscan Bronze INKWELL OF THE SEVENTEENTH CENTURY 
Crater-shaped body, with gadrooned rim, decorated with band of 


gadrooning and supported on three lions’ paw feet. 


Height, 34, inches; diameter, 33, inches. 


232—VENETIAN Bronze INKWELL OF THE SIXTEENTH CENTURY ad 
Circular shape, with molded rim and base. Sides decorated, in relief, 


with lions’ masks decorated: with scrolled acanthus leaves. 


Height, 2%, inches; diameter, 41/, inches. 


233—VENETIAN Bronze INKWELL OF THE SIXTEENTH CENTURY 
Circular shape, with cylindrical rim and molded base. Sides decorated, 
in relief, with human masks and scrolled acanthus leaves. 


Height, 3 inches; diameter, 4 inches. 


=| 
r 


234—VENETIAN STEEL Book Correr oF THE FIFTEENTH CENTURY 
Rectangular shape, with removable lid. Damascened, in gold, with 
quatrefoil medallions and scrolled leaves. Swinging ring handles and 
lions’ heads. 
Height, 6 inches; width, 414 inches; depth, 41, inches. 


235—Papuan Bronze Inxxsranp oF THE Firreenro CENrury By ANDREA 
Briosco (cattep Riccto) (1470-1522) 
Standing figure of a satyr holding in both hands a bowl decorated with 
masks in relief. At his side is a cylindrical pedestal modeled in relief 
with caryatid figures, with voluted tapering terminations, supporting 
festoons of diapery. This pedestal forms a pen-holder. 
Height, 7%, inches. 


236—Papuan Bronze Inxsranp aNv Cover oF THE SIxrEENTH CENTURY 
Coupe-shaped body, supported by three wingea cherubim terminating in 
paw feet and decorated with drapery festoons.. Domed removable cover, 
decorated with masks and drapery festoons, and finial formed as a 


standing eagle with outstretched wings. 
Height, 7 inches. 


237—FLorENTINE Bronze Door KNocKER OF THE SIXTEENTH CENTURY 
Lyre-shaped. Formed of two dragons with lions’ heads and bodies en- 
twined with their tails and enclosing a Satyr’s mask surmounted by the 


figure of a seated Putto. 
Height, 9 inches. 


238—VENETIAN BronzE Ewer or THE Eartuy SIXTEENTH CENTURY 


Pear-shaped body, with incurved neck on cylindrical stem, molded cir- 
cular foot and spout modeled as a standing bird holding a tube in its 
mouth with pierced bracket. Decorated with engraved bands of Kufic 
characters. (Handle missing.) 

Height, 81% inches. 


Note: This ewer was made in Venice by a Syrian or Mamluk craftsman, a con- 
temporary of the famous Mahmud El-Kurdy, and a precursor of the Italian Azimmani, 
or metal workers in the Oriental style. 


239—FLorENTINE Bronze Morrar OF THE SIXTEENTH CENTURY 


Incurved cylindrical shape, with molded rim and foot, and two 
handles. Body decorated with vertical half ne in mele 


eae 


240—FLORENTINE Bronze Morrar oF THE SIXTEENTH CENTU} : 
Spreading cylindrical shape, with spreading rim. Body 
four shaped ribbings and lions’ masks in relief; rim 


relief. ni 
Height, 3 inches; 


(Illustrated) 


241—FLorentixe Bronze Morrar or THE SixTEENTH 

Spreading cylindrical shape, with molded rim and be 

with four projecting shaped ribbings and inscription ir 
Height, 8% telah 

(Illustrated) 


Spreading cylindrical shape, with molded rim and f 0 
with four shaped ribbings and female masks. aes 


(Illustrated) an 


243—Twuscan Bronze Bown or THE FIrrEENTH Crenru 


Pear-shaped body with molded rim. Body decora 
winged ribbings. | 
Height, 31 inches m 


(Illustrated) 


244—Tuscan Bronze Bown or tux SixreenrH CEeNnTUR 


Pear-shaped body with enor rim. Body dec 
winged ribbings. 


(Illustrated) 


243 


244 


245—FLorentine Bronze Morrar oF THE SIXTEENTH CENTURY 
Tapering cylindrical shape, with incurved sides and projecting tapering 
and scrolled bracket handles modeled on top with couchant heraldic lions, 
Sides decorated, in relief, with scrolled escutcheons, charged with the 
arms of the Medici family quartered with another, and supported by 
flying Amorini. 
Height, 4 inches; diameter, 5 inches. 


246—FLorENTINE BronzE Mortar OF THE SIXTEENTH CENTURY 
Spreading cylindrical shape, with molded rim and foot. Body decorated 
with four vertical shaped ribbings and lions’ masks in relief. 


Height, 3°, inches; diameter, 6 inches. 


2464—FLorENTINE Bronze Morrar OF THE SIXTEENTH CENTURY 
Incurved sides, with loped handle. Decorated, in relief, with escutcheon 
and two stags and with panels of vases and flowers. 


Height, 384 inches; diameter, 41/, inches. 
g ‘4 2 


247—FLoRENTINE BronzE Mortar OF THE SIXTEENTH CENTURY 


Incurved cylindrical shape, with molded rim and foot and two projecting 
handles formed as heads of Putti. Body decorated with galloping horses 
in relief. 

Height, 41/4, inches; diameter, 51% inches. 


24S—FLoRENTINE Bronze Morrar OF THE SIXTEENTH CENTURY 


Spreading cylindrical shape, with spreading rim and one looped handle. 
Body decorated with vertical ribbings and shield-shaped escutcheon 
charged with the initials “S.I.” 


Height, 4% inches; diameter, 6 inches. 


249—FLorENTINE Bronze Mortar oF THE SIXTEENTH CENTURY 


Incurved sides, molded rim, gadrooned under portion, molded foot and 
looped scrolled and voluted handles with Satyrs’ heads. Body decorated, 
in relief, with scrolled escutcheon charged with a coat-of-arms and sur- 
mounted by a helmet and with a band of acanthus leaves. 

Height, 51, inches. 


250—FLorRENTINE Bronze Mortar oF THE SIXTEENTH CENTURY 


Spreading cylindrical shape, with molded rim and foot. Body decorated 


with four female caryatid figures separating groups of three scrolled 
Putti masks. 


Height, 3% inches; diameter, 5 inches. 


251-—FLoRENTINE BronzE Morrar AND PESTLE OF THE SIXTEENTH CENTURY 


Mortar with straight sides, decorated, in relief, with vertical ribbings 
and oval and rectangular medallions of figures. Rim with detached 
leaves. Cylindrical double-ended pestle. 


Height, 41% inches; diameter, 6 inches. 


252—-FLORENTINE Bronze Morrar oF THE SIXTEENTH CENTURY 


Incurved cylindrical shape, with molded rim and foot and looped dolphin 
handle. Body decorated with oval medallion enclosing monastery sigillum 
and inscription in relief. 

Height, 4 inches; diameter, 51 inches. 


253—Goruic FLORENTINE BronzE Mortar oF THE FIFTEENTH CENTURY 


Straight sides, with ring handles. Decorated, in relief, with incised 
medallion of Virgin and Child, crucifix and inscription in Gothic char- 


acters. 
Height, 51/4, inches; diameter, 714 inches. 


254—FLorentiIne Bronze Morrar or THE SIXTEENTH CENTURY 
Incurved sides. Decorated, in relief, with vases of flowers: and | cl 


: _ Spreading sides, Wiel rim, Nae molded fos Peer 

with ring. Sides decorated with heraldic shield charged | 
_ lion surrounded by molded roundels, on a ground ote 
2 and leaves in relief. epore 
Height, 6Y, inchen diameter 


(I a ) 


AUDLINAO HINGE ATUVA AHL dO UVLYHON AZNOU OIHLOD NVOSI).L—$ss “ON 


LIMOGES ENAMELS, SILVER AND SILVER GILT 


Of the Fourteenth, Fifteenth and Sixteenth Centuries 


256—Frencu Limoces ENAMELED AND Gitr Bronze PrickET CANDLESTICK 
oF THE FourTEENTH CENTURY 

Painted pricket on hexagonal foot, with incurved sides, decorated with 

radiating panels with trefoil-arched tops of red, blue and white champ- 

levé Limoges enamel in designs of saints, the faces in engraved gilt 


bronze. Pointed pricket of gilt bronze. 
Height, 7, inches. 
(Illustrated) 


257-—F LorENTINE SILVER STATUETTE OF THE LaTE SIXTEENTH CENTURY 
Full-length standing figure of a female saint with long curling hair, 
dressed in a robe chased with a brocaded pattern open at the knee so 
as to show the lower part of the leg and with her hands folded in front 
of her. On rectangular base with molded cornice and base, scrolled 
angles and scrolled escutcheon with the coat-of-arms of the Strozzi fam- 


ily, noted in Florence, and a Latin inscription. 
Height, 15 inches. 
(Illustrated) 


258—VENETIAN SitvER Lamp or THE E1GHTEENTH CENTURY 

Standard modeled as the figure of a dancing Psyche with both arms raised 
above her head and wearing a flowing robe. With one hand she supports 
a vase-shaped oil receptacle, with three cylindrical wick nozzles, sup- 
ported by scrolled leaves, with domed molded cover with bands of leaves 
in relief, finial formed as a goat, and Amorini and chains supporting 
wick pickers. Shade shaped as a moth supported by arch of silver 
wire. On cylindrical molded pedestal decorated with floral festoons in 
relief. 

Height, 1714 inches. 

(Illustrated) 


259—VENETIAN Byzantine Sitver ParrrarcHuant Cross or THE Karty Four- 
TEENTH CENTURY ben 
Four-armed cross repoussé with central figure of Christ holding an in- 
scribed label. Trefoiled arms repoussé with figures of saints, an angel 
and the lion of St. Mark, while above is repoussé a figure of Christ emerg- 
ing from the tomb. Beaded border. 
Height, 131%, inches. 


260—FrencuH Sinver Gitr CENTERPIECE oF THE LaTE SIXTEENTH CENTURY 
Tripod form, with cylindrical stem, terminating in fluted pear-shaped 
vase of fruits with a center of a gadrooned vase, and base of female 
masks. This stem is supported by curved arms modeled as female Grecian 
winged sphinxes holding shell-shaped bowls and terminating in bearded 
masks and horses’ hind legs with hoof feet. Base of shell-shaped bowls 

and scrolled and voluted mask feet. 
Height, 9%, inches. 


Note: This was fashioned by a French craftsman, working under the influence of 
Benvenuto Cellini after the latter’s residence in France, 


261—Frencu Sitver anv Rock Crysrat Rerieuary. Earzy FirreenrH 
CENTURY 

Rectangular shape. Formed as a Gothic building with pent roof of 
rock crystal carved with imbrications, pierced and modeled cresting. with 
a shield-shaped and trefoil opening, crocketed gables with pointed arch 
openings, central poppy-head finial, floriated side finials, and frieze 
pierced with trefoil openings. Octagonal columns at angles, with molded 
bases. Molded plinth, the upper member hatched and with inscription 
in Gothic characters, four projecting cylindrical turrets with conical 
roofs at the angles and feet modeled as heraldic lions. French “poingon” 
or touch of the fourteenth century. 


Height, 8, inches; length, 984 inches; width, 5, inches. 


(Illustrated ) 


262—Frencu Gitr Bronze anv Stitver ReELiquary OF THE FouRTEENTH 
CENTURY 

Repoussé in the form of the bust of a saint with clean-shaven face and 
bushy curled hair. He wears a close-fitting cap with turned-up rim, a 
priest’s robe with wide stole and a circular medallion on his breast with 
glazed front and edged with a band of leaves wrought in relief. The 
base is molded. The stole is flat-chased in a design of scrolled acanthus 
leaves and the medallion forms a reliquary. The face is of silver, the 
robe and cap of copper, gilt. 

Height, 8 inches. 


/ 


(Illustrated) 


263—Frencu Bronze Mountep Osrrich Ecc Box Reriauary or THE Fir- 
TEENTH CENTURY 
Body of an ostrich egg strapped and with hinged lid, spreading stem 
and circular molded foot. Vertical straps and horizontal bands of 
diamond patterned tracery endorsing quatrefoils; top of lid modeled with 
Gothic tracery, poppy headed trefoil finial and molded hinged hasp. 


Height, 10 inches. 
(Illustrated ) 


264—Ser or Six Venetian Parnrep anp Gitr Metat Pricker Canpiesticks 
OF THE SEVENTEENTH CENTURY 
Vase and baluster-shaped stems repoussés with acanthus scrolls, saucer- 
shaped bobéches repoussés with acanthus leaves and iron prickets. On 
triangular pedestals formed of voluted scrolls enclosing scrolled and 
shell-decorated escutcheons with crowned letter “M” on voluted feet. 
Painted brown with ornaments heightened by gilding. 


Height, 26 inches. 


. 
| : = 


265—FLoRENTINE SILVER Bas-RELIEY OF THE: SEVENTEENTH 


* 


Rectangular shape. Central panel repoussé with a — 
Holy Family, the Virgin holding the undraped Child 
Joseph seated. Below, an infant St. John the Baptist, « 
angel, and above, two angels supporting a crown. In - 
cherubim. Surrounded by a border repoussé with | 
fruit and figures. Below, two reclining Putti, Me 


Height, 15 ine 


(Illustrated) 


No. 265—FLORENTINE SILVER BAS-RELIEF OF THE 
SEVENTEENTH CENTURY 


BRONZES OF THE FOURTEENTH TO THE 
EIGHTEENTH CENTURY 


266—Pair or FLorENTINE Bronze CANDLESTICKS OF THE FIFTEENTH CENTURY 
Hexagonal shafts, pierced with Gothic trefoiled arches and panels of 


tracery. Circular molded, saucer-shaped base. 
Height, 8% inches. 


From the celebrated Fitz Henry Collection, London. 


(Illustrated ) 


267—Pair or Tuscan Bronze CANpDLEsSTICKS OF THE Late FirreeNntTH 
CENTURY 
Pear-shaped stems, fluted and gadrooned ; vase-shaped fluted and ga- 


drooned candle-sockets, with circular bobéches. Scalloped circular feet. 


Plated with silver. 
Height, 9 inches. 
From the Marcuard Collection, Florence. 


(Illustrated ) 


268—Papuan Bronze Inkstanp oF THE FirreeNTH CENTURY 
Coupe-shaped, on tripod stand of three winged female caryatids with 
double fishtail terminations. Domed cover, with finial modeled as the 
standing figure of a female saint bearing a cross and chalice. Dark 


patina. 
Height, 5 inches. 


269—Frencn Gotruic Wrovucut-1ron CuurcH Door Knocker or THE Fir- 
TEENTH CENTURY 
Modeled as the full-length figure of a Martyr Saint in flowing robe, hold- 
ing in one hand a palm branch and in the other a book. Rectangular 
base, wrought with Gothic leaves in relief and with hexagonal boss for 
knocker. 
Height, 13 inches. 
(Illustrated) 


270—VENETIAN Bronze Door KNockEerR OF THE SIXTEENTH CENTURY BY 
GrovaAnNt Anronio Taverno (circa 1575) 
Hinged knocker, formed as the figure of two lions enclosing the figure of 
an Amorino holding a cushion, and supported on a voluted pedestal deco- 
rated with cherub and with shell below. Above is a voluted and scrolled 
plate enclosing an oval medallion decorated, in relief, with a cherub. 


Height, 10 inches; width,-8 inches. 


Note: The mate of this knocker is said to be in the J. P. Morgan Collection. 


271—Roman Bronze Ewer or THE SEconp Century B.C. 


Pear-shaped body, with looped handle pierced and modeled as a figure 


of Apollo with his Lyre. Standing on a winged gryphon. Exhumed. 
Green patina. 


Height, 9, inches. 


272—Frencn Gornic Bronze Bas-revier Memoria Bust or tHe Earty 
FourtTeentH CENTURY 


Repoussé portrait taken from the death mask of an Abbess. She wears 
the hood, head-dress and veil of her order. 


273—Papuan Bronze Inxkwett anp Pouncer Box oF THE SIXTEENTH 
CENTURY 
Drum-shaped inkwell with molded rim and base, feet modeled as sphinxes 
and the body decorated with a band, in low relief, of acanthus-leaf 
scrollings interrupted by three lions’ masks. ‘Top with center hole for 
inkwell and three smaller holes for pens. Cover of well drum-shaped. 
Pouncet box with pierced top, castellated and molded rim, molded ball 
finial and body decorated with a band, in low relief, of half-human fig- 


ures holding festoons of drapery. 
Height, 5%, inches. 


PO ai a ot AEE ARLE ge ef 


: fs 
‘ 
2 . =» 
\ a . g ogre 
wd \ _—* 


274—VENETIAN Bronze Inxsranp sy Virroria. SixTEENTH CENTURY 
Rectangular inkwell, with sides modeled, in relief, with horizontal bands 
of acanthus leaves and female masks with curling hair on a dotted back- 
ground. At the angles are standing figures of nude Putti holding carved 
branches of leaves which form handles. Removable pinnacle lid, modeled 
with female masks and with a finial modeled as a seated nude Putto 
holding a twisted cornucopia. Rectangular base, with scrolled and 
voluted feet modeled with Putti’s heads. Made by Alessandro Vittoria 


(1525-1613). 
Height, 10 inches. 


275—Papvuan Bronze Inkwett sy Riccio (ANpREA Briosco oF Papva), 
FIFTEENTH CENTURY 


Kneeling figure of a Satyr supporting on his shoulders an infant Bacchus 
and with his left hand resting on a shell which forms inkwell. 


Height, 7 inches. 


276—NEAPOLITAN SILVER CHURCH BraziER OF THE EIGHTEENTH CENTURY 


Quatrefoil shape, with molded rim and foot and hinged pierced lid. Sides 
decorated with panels repouss¢és with scrolled interlacements and husk 
festoons and with scrolled masks supporting swinging scrolled bail handle 
with turned wooden grip. Lid pierced and repoussé with four panels of 
scrolled interlacements and with oval gadrooned medallion. Neapolitan 


Hall Mark of 1710. 
Height, 41% inches; length, 10 inches. 


277—F LoreENtINE Bronze STarverrE oF THE SixrEENTH CentTuRY. ScHOOL 
or Gran Botoena (1530-1608) 
Figure of “Venus Emerging from her Bath.” Shown as the standing 
figure of a nude woman stooping forward with one leg raised and one 
arm outstretched. On rectangular base of giallo-antico marble. 


Height of bronze, 5% inches. 


278—FLorENTINE Bronze STATUETTE OF THE SIXTEENTH CENTURY 
Standing figure of Flora, shown as a young woman dressed in flowing 
robes which leave her bosom bare. In her hands she holds flowers. On 
circular base, showing traces of original gilding. On molded cylindrical 


pedestal of giallo-antico marble. 
Height, 5%, inches. 


279—ArcuHaic Greek Bronze STATUETTE 
Figure of Paris, shown as an undraped youth standing erect, with one 
hand outstretched, and holding an apple, grasping in the other a fold 
of his scarf. On rectangular base of bronze with acanthus-leaf feet of 


later date but from the same excavation. 
Height of figure, 11 inches. 
(Illustrated ) 


280—VENETIAN Bronze STATUETTE OF THE SIXTEENTH CENTURY 
Standing figure of Ceres. Shown as a woman in classic robe, standing 
erect and holding a fold of her draperies with the right hand, the left 
hand being raised upright. Rectangular wooden pedestal. 


Height of bronze, 13 inches. 


(Illustrated) 


281—F LorENTINE Bronze STATUETTE OF THE FirrEENTH CENTURY 
Standing figure of Juno in loose robe, resting her hand on head of pea- 


cock at her side. Turned wooden pedestal. 
Height of bronze, 13 inches. 


(Illustrated) 


282—Papvan Bronze Inxstanp FRoM THE Borreca oF ANDREA Briosco 
(1470-1522), kNown as Riccio. Earty SixTrrentH CENTURY 
Standing figure of a bearded Satyr holding, in both hands, and in front 
of him, a curved tige terminating in a vase-shaped candle-socket deco- 
rated, in low relief, with acanthus leaves. The figure stands at the apex 
of a triangular base, the sides decorated in low relief with panels of 
scrollings, and with mask feet. In front are two vase-shaped inkwells 
having sides decorated, in low relief, with acanthus leaves, domed and 
hinged lids decorated with acanthus leaves, and finials formed as female 


heads. 
Height, 1134 inches; width, 6% inches. 


283—F LorENTINE BronzE STATUETTE OF THE FIFTEENTH CENTURY BY BEr- 
THOLDO DI GIOVANNI (14(?)-1491) arreR THE ANTIQUE 
Seated figure of Jupiter, shown as an undraped bearded man holding in 
his outstretched right hand a thunderbolt and in his left the draped 
figure of a woman. On his head is the nude figure of a Venus raising 
her right hand. On stepped rectangular pedestal of brown marble. 


Height of bronze, 8 inches. 


. ’ _ 


einen Bronze SrarcerrE OF ru Secon Cexreny Be 


tresses of ae hair. Bing: green patina. On reetang 
pedestal. : Tapes pasa 


+a - t 


i. I llustrated) 


No. 284A—ROMAN BRONZE STATUETTE OF THE 
SECOND CENTURY B.C. 


285—Papuan Bronze Srarverre bhi acon ks. EREE ee tre 


on its meats and Reid one atic foot eae ee a grou 
head is turned. (Antler Brokat J Modeled, by Pesellino. 


Height 
(Illustrated) 


( fhaspeoeee Bi: 


287—FLorENTINE Bronze STATUETTE OF THE FirrEENTH CENTURY BY 
Berrotpo oF Papua (?) 

Figure of Marcus Aurelius with bearded face, in a Roman tunic, seated 

on horseback, the horse in the attitude of walking with right foot raised. 


Rectangular wooden pedestal. 
Height of bronze, 6%, inches. 


288—FLorRENTINE Bronze STATUETTE OF THE SIXTEENTH CENTURY By GiAN 
Botoena (1530-1608) 

Figure of a galloping horse shown with fore feet raised and tail stream- 

ing in the wind. Signed on one back hoof “co. Bo.” On rectangular 


ebonized wood pedestal. 
Height of bronze, 8 inches. 


289—Nortu Travian Bronze STaruerre oF THE FirreENTH CEentTURY 
Full-length figure of Hercules with head and shoulders draped witl 
lion skin, holding the pommel of a sword in his right hand and re: 
the left on the head of a kneeling figure ils pea rdes face. On recta 


* 
t 


rT a Pa > 
290——Parr or FirorentTine Bronze Eauestrrian STATUETTES OF THE 
TEENTH CENTURY BY Prep Beas ey 


The king wears a suit of iy armor and extends his. re 
heads are movable. On original octagonal pedestals of | ca 
with molded cornices and bases and molded panels of g 
marble. Small models ee ail equestrian statue. — 

Height of bronzes, 14%) | 


From the collection of Count Ppa ae hace 


of Spaki (1684-1640). In this statue he rises 3 a ser ital ee n 
tioned immediately after Donatello and Verrocchio. Tacca leaves far 
Jean de Bologne, ete. ete.” 


(Illustrated) 5 (ie as om 


(OS9I-LLGT) VOOVL OULHId AM AUYOINYO HINGLINTAUS 
ALL LO SHLLUALVIS NVIULSANOA AZNOUM ANILNAUO TA AO ULVd—066 ON 


291—Pair oF FLorENTINE BRonzE STATUETTES OF THE SIXTEENTH CENTURY 
By Jacopo Tarti, DETTO IL Sansovino (1477-1569) 

Standing figures symbolic of “Peace” and “War.” “Peace” is shown as 
a young woman in a flowing robe holding in one hand a cornucopia, and 
in the other the downturned flaming torch emblematic of Peace, and 
resting one foot upon a helmet. “War” is shown as a young woman 
wearing a helmet, a flowing robe, a close-fitting tunic of goat-skin and, 
on one arm, an oval buckler. At her feet crouches a human-headed 
gryphon wearing a helmet and supporting a scrolled escutcheon. On 
triangular molded bases of walnut with mncurved sides. 


Heights, 21 and 22%, inches. 


292— FLoRENTINE Bronze STATUETTE OF THE SIXTEENTH CENTURY BY JACOPO 
Tarr, perro 11 Sansovino (1477-1569) 
Figure symbolic of “Dancing.” Shown as a young woman in flowing 
robes and with curling hair standing in an attitude of dancing with out- 
stretched arms. On rectangular molded pedestal of green marble. 


Height of bronze, 35 inches: of pedestal, 8% inches. 


Note: From the collection of Jacques Seligman, Paris. 


293—CninEsE Bronze Figure OF THE CH'IEN-LUNG PERIOD 
Standing figure of Buddha with his right hand raised. In flowing robes 
with close head-dress and standing upon a lotus blossom and leaves. 
Octagonal base, with sunken panels occupied by scrolled ornaments. 


Height, 26 inches. 


294—FLoRENTINE Marp_E AND Bronze STATUETTE OF THE FouRTEENTH 
CENTURY 
Figure of Diana of Ephesus after the antique. Shown as the figure of a 
woman, standing with upraised hands. She has many breasts, and from 
the waist to the feet the figure resembles a downward tapering pillar. 
Molded, in low relief, at the sides with medallions of conventionalized 
roses and bees, and in front with rows of projecting birds and animals. 
She wears a castellated head-dress, with side flaps modeled with project- 
ing animals, and holds in either hand a miniature castle, while on her 
arms are statant lions. She also wears a floral garland. Head, hands 
and feet are of bronze, the body of Parian marble. On circular base 


and rectangular wooden pedestal. 
Height of figure, 231%, inches. 


Note: The original antique is in the Naples Museum. 


sy Pierro Tacca (1577- 1650) 


Bust portraits of Roman Emperors on molded incurved pedestals with 
a reddish gold patina. On cylindrical pedestals, with molded feet and © 
square bases, of red porphyry. The set consists of busts of: 


(a) Julius Caesar, flourished 48 B.C. 
(ps) Cesar Augustus “ 30 B.C. 
(c) Tiberius Augustus “ 14 A.D. 
(p) Claudius Augustus “ 41 A.D. 
(x) Nero Augustus#= ~~ >< S47 ACD 
(F) Titus Augustus ie ALD ; 
(c) Domitian Augustus “ Si ‘A:D. 
(1) Nerva Augustus “ 96 A.D. 
(1) Hadrian Augustus “ = 117 A.D. 


(s) Antonius Pius ES 138 A.D. 
(x) Marcus Aurelius Pree dO LACES: 
(1) Caracalla % 211 A.D. 


Height of busts, 11 inches. 


Note: These busts came from the collection of Prince Barberini of 
busts were added to this collection by Maffeo Barberini, who as Pope 
(1623-1644) strengthened the fortifications of Castle St. Angelo, removing 
make cannon, the massive bronze tubular girders from ta ics of the | 


fecerunt Barberini.” 


: (Illustrated) 


295—SET OF TWELVE ROMAN BRONZE BUSTS OF THE SEVENTEENTH CENTURY BY PIETRO TACCA (1577-1650) 


296—Tuscan Bronze Brazier OF THE SEVENTEENTH CENTURY 

Coupe-shaped body, with looped dolphin handles swinging from gro- 
tesque masks, on three lions’ feet. Domed, pierced removable cover with 
acorn finial. Body repoussé with acanthus-leaf scrollings, lions’ masks 
and circular medallions charged with the arms of the Borghese family and 
a portrait of Pope Paul V respectively. Cover pierced and repoussé with 
acanthus-leaf scrolls, masks and circular medallions occupied by gry- 
phons. Finial repoussé with voluted scrolls and lions’ masks. 

Height, 39 inches; diameter, 24 inches. 


Note: Camillo Borghese, Pope Paul V (1605-1621), to whom this brazier belonged, 
ranks among the Popes who have contributed most to the embellishment of Rome. 


297—Pair oF FiorentineE Bronze CANDLEsSTICKS OF THE LATE SIXTEENTH 
CENTURY 

Turned vase and baluster-shaped stems with pierced and scalloped saucer- 

shaped bobéches. Supported on triangular pedestals formed of voluted 


scrolls with three voluted bracket feet. 
Height, 201%, inches. 


(Illustrated ) 


298—Parr oF FLORENTINE Bronze Pricker CANDLESTICKS OF THE SEVEN- 
TEENTH CENTURY 

Hexagonal vase and baluster-shaped stems with scalloped saucer-shaped 

bobéches and brass prickets. On triangular pedestals formed of voluted 


scrolls with three paw feet. 
Height, 22%, inches. 


299—FLoRENTINE Copper DisH oF THE FIFTEENTH CENTURY 
Circular shape. Center repoussé with subject of Joshua’s spies bearing 
a bunch of grapes between them, surrounded by a band of inscription in 
Lombardic characters and a leaf border. The rim incised with a band 
of pointed-arch loops with trefoil pendants. 


Diameter, 15 inches. 


From the collection of the Marquis of Montagliari of Florence. 


(Illustrated) 


297 


300—FLorENTINE Covper DisH oF THE FirTrEENTH CENTURY 
Circular shape. Center repoussé with four gadrooned vases separated 
by acanthus-leaf volutes, and surrounded by a band of inscription in 
Lombardic characters and a band of chased scrollings, the rim incised 
with a band of leaves and a border of pointed-arch loopings with tre- 
foil pendants. 


Diameter, 1714 inches. 
From the Marcuard Collection, Florence. 


301—FLorENTINE Brass PLATE OF THE SIXTEENTH CENTURY 
Circular shape. Repoussé, as to the center, with figures of Adam and 
Eve on either side of the Tree with Serpent, surrounded by two bands 
of inscriptions in Lombardic characters. Rim incised with bands of 


leaves and trefoils. 
Diameter, 16 inches. 


302—FLoRENTINE Copper DisH oF THE FIFTEENTH CENTURY 


303 


Circular shape. Center repoussé with a-circular medallion containing the 
figure of a running stag, surrounded by.a star-shaped figure with pointed 
arms separated by scrolled branches of flowers and running deer. Rim 
incised with band of pointed-arch loopings with floral pendants. 


Diameter, 20 inches. 


VENETIAN Brass CANDLESTICK OF THE EIGHTEENTH CENTURY 


Square iron standard with pineapple finial of brass and adjustable brass 
arm of three vase-shaped candle-sockets with beaded bobéche on curved 
arms. Beaded and molded saucer-shaped foot of brass. 


Height, 181/, inches. 


THIRD AFTERNOON’S SALE 


FRIDAY, APRII. 23, 1920 


~AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O CLOCK 


304—Pair or CHINESE TEAKwoop Sroots oF THE CH’IEN-LUNG PERIOD 
Octafoil tops with molded edges, friezes pierced and carved with panels 
of scrolling, shaped aprons, cabriole legs carved at the knees, paw feet 
and incurved molded rails. Tops inset with slabs of veined red marble. 


Height, 1914 inches; diameter, 18 inches. 


305 


Frencu Carvep anp Gitt Woop CANDELABRUM OF THE EIGHTEENTH 
CENTURY 


Square tapering fluted stem, with two curved arms terminating in rec- 
tangular volutes. Stems and branches*support gadrooned vase-shaped 
candle-sockets with saucer-shaped bobéches carved with egg-and-dart 
ornament. Rectangular molded base carved with band of pointed leaves. 


Height, 16 inches. 


306—Pair oF FrencH ManocGany GuERIDONS OF THE EIGHTEENTH CENTURY 


Circular tops of black and white marble slabs on molded aprons, trian- 
gular stems carved with sphinx heads and inlaid with raised flutings and 
molded edges of ebony. Incurved triangular bases, and turned acorn 
feet. 


Height, 45%, inches; diameter, 14 inches. 


307—VENETIAN CarvED AND Gitt Woop Mirror or THE Earty E1gHTEENTH 
CENTURY 
Rectangular mirror, with rounded top, inner molded frame and outer 
frame pierced and carved with scrolls, volutes, flowers and leaves and 
five cherubim. Base with semicircular molded shelf supported by three 
cherubim. 
Height, 33 inches; width, 27 inches. 


From the Dal Zotto Collection, Venice. 


30S8S—VENETIAN CARVED AND Gitt Woop FRAME oF THE EIGHTEENTH CENTURY 


Rectangular shape, with oval opening. Molded and carved frame, with 
cresting pierced and carved with cherubim, scrolled acanthus leaves, 
rosettes and angular volutes. Side brackets carved with scrolled acan- 
thus leaves, birds and floral pendants. Spandrels carved in low relief 


with acanthus-leaf scrolls. 
Height, 39 inches; width, 34 inches. 


309—VENETIAN CarveD Watnutr Mrrror oF THE EIGHTEENTH CENTURY 


Oval shape. Frame carved with voluted scrolls and flowers and with 
Amorini having acanthus-leaf terminations and pendants of fruits and 
flowers and, in the center, a mask surrounded by scrollings. Finial 
carved as a figure of Venus draped and resting her hands on the shoulder 
of a Cupid who presses an arrow to his lips. Apron carved as a kneeling 
woman holding tresses of her hair in either hand and flanked by acanthus- 
leaf scrolls and Amorini. Shaped base, carved in the center with a 
female mask, on either side of which are floral festoons flanked by 
Putti seated on scrolled and voluted bases. Louis XV period. 


Height, 39 inches; width, 18 inches. 


310—Frencn Manocany FiIrE-scREEN OF THE EIGHTEENTH CENTURY 


Rectangular shape. Reeded frame, with reeded cylindrical top and 
reeded legs on tapering square curved and rosetted cross feet. Screen 


paneled with plaited green silk. 
Height, 34 inches; width, 29 inches. 


311—VeENETIAN CaRvED AND Gitt Woop CHANDELIER OF THE EIGHTEENTH 
CENTURY 

Turned baluster-shaped stem, carved with lotus and acanthus leaves. 

Circular saucer-shaped body, decorated with carved acanthus leaves and 

having three chains formed of turned wooden spindles. The body sup- 

ports eight curved branches with carved acanthus leaves at the junctions, 

saucer-shaped bobéches and cylindrical candle-sockets. Entirely gilt. 


Diameter, 32 inches. 


312—Eneutsh Manocany Wrirrxe Desk oF THE EIGHTEENTH CENTURY 
Shaped top with plain edge, the center portion hinged so as to form 
adjustable lid; plain apron, the center with hinged fall-down front form- 
ing writing slab and interior fitted with four drawers. Cabriole legs, 
carved at the knees and feet. 


Height, 2 feet 8 inches; length, 3 feet 41% inches; width, 1 foot 8 inches. 


313—NortH Iratian Waxtnut Writine TasLe oF THE EIGHTEENTH CENTURY 
Circular top, with plain edge. Apron fitted with four drawers pivoted 
to swing open and with wooden knobs. Square tapering legs with sunken 
paneled shafts, decorated with raised flutings and square rails. 


Height, 29 inches; diameter, 2614, inches. 


314—VenetTian Intarp Watnut Taste oF THE EIGHTEENTH CENTURY 
Kidney-shaped top, inlaid with band of kingwood and lines of satinwood, 
shaped apron fitted with drawer and inlaid with vertical bands of mahog- 
any, satinwood and green stained wood. Straight molded supports and 
carved cross bases carved with acanthus leaves. 


Height, 29 inches; length, 39 inches; width, 17 inches. 


315—EncuisH Satinwoop Desk or THE KicHrEENTH CENTURY 
Rectangular shape, in two portions. Upper portion with shelf having 
curved back, pull-out slab fitted with six drawers and three pigeon- 
holes. Lower portion formed as a writing table with hinged top lined 
with stamped velvet and drawer with two brass swinging ring handles. 
Square tapering legs. Satinwood inlaid with lines and bands of boxwood 


and rosewood. 
Height, 45 inches; width, 26 inches; depth, 1714 inches. 


316—VENETIAN Carvep anv Git Woop Manret Mirror or tHE EiGHTeEENTH 
CENTURY 
Rectangular mirror with trefoil top, molded and scrolled inner frame, 
outer frame pierced and carved in a Louis XV design of a broken voluted 
pediment with open C-scroll finial, pierced and carved scroll and leaf 
wings with lower part carved with C-scrolls and acanthus leaves. Carved 
scrolled apron and open scrolled and voluted feet. 


Height, 48 inches; width, 28 inches 


From the Dal Zotto Collection, Venice. 


317—-SeEtT oF Six Encuish Watnutr HiecuH-packep Cuairs oF THE EIGHTEENTH 
CENTURY 

Straight high backs, with arched frames carved with acanthus leaves 
and with pierced and carved crestings of escutcheons charged with coat- 
of-arms, surmounted by coronets and supported by rampant heraldic 
hons. Straight molded seat fronts, shaped flat legs carved with acanthus 
leaves and conventional lions’ heads, shaped front rails pierced and carved 
with acanthus-leaf scrolls and shells and turned side rails and stretch- 
ers. Seats and backs paneled with woven cane-work. 


318—-VENETIAN PainrepD CuHair oF THE EIGHTEENTH CENTURY 
Open back, with shaped and scrolled horizontal splat, shaped head 
rail, straight seat front, turned tapering legs and turned front, side and 
back rails. Seat of interlaced cords. 


MIRRORS, FRAMES AND LANTERN OF THE SIXTEENTH 
AND SEVENTEENTH CENTURIES 


319—Venetian Erony, Sinver anp Marsrie Invar Mrrror oF THE SEVEN- 
TEENTH CENTURY 

Rectangular shape, with broken pediment, with silver finials pierced in 
a trefoil design, paneled central tablet and molded broken cornice. Tab- 
let-shaped frame with broken angles, scrolled and voluted side-brackets 
and molded broken base and scrolled and voluted apron with central 
paneled tablet. Frame of ebony inlaid with lines of silver. Frame bor- 
dered with panels of malachite, onyx and colored marbles divided by 
bands of ebony inlaid with lines of silver. 


Height, 16 inches; width, 101, inches. 


af 
{ 
4 
« 
aft 


fo 
i? 
*% 
\ 


320—FLoRENTINE CarRvED AND GitTtT Woop Mirror oF THE SIXTEENTH 
CENTURY 


Rectangular shaped mirror. Frame carved with broken voluted pedi- 
ment, voluted side brackets and scrolled and voluted apron. Carving 


heightened with gilding. 
Height, 1714 inches; width, 14 inches. 


321—FLoRENTINE PatntTED AND Gittr Woop FRAME OF THE SIXTEENTH 
CENTURY 
Molded and dentelled cornice, plain frieze and plinth and _ pilasters 


with paneled shafts. 
Height, 2 feet 6 inches; width, 1 foot 111%, inches. 


322—FLorENTINE CarRveD AND Gi_tT Mirror oF THE SIXTEENTH CENTURY 
Rectangular shape. Carved sides, cresting and apron. Gilt. Original 
mirror. Remarkable patina and state of preservation. 


Height, 30 inches; width, 171%, inches. 


323—FLorENTINE Watnut FRAME OF THE SIXTEENTH CENTURY 


Broken pointed molded pediment, with voluted finial, molded cornice, 
frieze carved with rosettes, fluted pilasters, plain plinth and molded 


base. 
Height, 60 inches; width, 461/, inches. 


324— VENETIAN CarveD aNpD Girt Woop Mirror or THE SixtEENTH CENTURY 
Rectangular-shaped mirror. Frame carved, the top with cherub flanked 
by voluted scrolls, the sides with fruit and pointed-leaf pendant and 
voluted scrolls, and the apron with a central rosette flanked by voluted 
scrolls. Carving heightened with gilding. 


Height, 201% inches; width, 17 inches. 


325—VENETIAN CarvED, PaInrED AND Gitt Mirror oF THE SEVENTEENTH 
CENTURY 
Quatrefoil mirror, with molded and egg-and-dart carved frame sur- 
mounted by broken-arched pediment with two Amorini and laurel-leaf 
festoons and pendants. Supported by a draped female figure on a 
scrolled and voluted base carved with a cherub. Painted and gilt. 


Height, 33 inches; width, 16 inches. 


326—FLoRENTINE Watnut TaBerRNACOLO FRAME OF THE Earty SIXTEENTH 
CENTURY 
Rectangular shape. Molded and carved cornice and frieze carved with 
acanthus-leaf rinceaux supported by fluted detached columnar pilasters 
of the composite order on molded bases and rectangular pedestals carved 
with scrolled escutcheons, plain base and round-arched inner frame. 


Height, 35 inches; width, 251% inches. 


327—VeENETIAN Carvep anp Gitr Woop Mirror Frame oF THE SIXTEENTH 
CENTURY 
~ Rectangular shape, with openings for three pictures surrounded by 
frames carved with voluted scrolls, festoons of fruits, and Amorini. 
Carving heightened with gilding. 
Height, 391, inches; width, 26 inches. 


328—Twuscan Parstep Woop Mirror OF THE SIXTEENTH CENTURY 


Tabernacolo form, with broken pediment and molded and dentelled cor- 
nice supported by fluted and astragalled Doric pilasters. Painted and 
gilt. 

Height, 391, inches; width, 244%, inches. 


329—VENETIAN Carvep ano Gitr Woop FRAME OF THE SIXTEENTH CEN- 
TuRY. ATTRIBUTED To Jacopo Sansovino (1477-1569) 
Rectangular shape. Carved with broken voluted pediment and floral fes- 
toons supported by female caryatid figures having scrolled and voluted 
terminations hung with floral festoons and supported on molded and 
fluted and carved brackets. Lower portion carved with scrolls, floral 
festoons and acanthus-leaf scrolls. Carving heightened with gilding. 


Height, 44% inches; width, 38%, inches. 


330—VeENETIAN CaRvED AND Gitt Woop Mirror oF THE SEVENTEENTH 
CENTURY 


Original rectangular shaped mirror, in three portions. Frame carved 
with voluted scrolls and triglyphs, the upper portion having in the cen- 
ter a winged cherub, and the sides female masks, volutes, fruit and leaf 
festoons and lions’ paws, the lower portion voluted scrolls and an oval 
escutcheon. Carving heightened with gilding. 


Height, 32%, inches; width, 321, inches. 


331—VENETIAN Carvep, PaIxtED aND GittT Woop LANTERN OF THE Srx- 
TEENTH CENTURY 


Rectangular shape with domed top, formed as a cupola with ribs and 
circular windows. Body with four round-arched glazed openings, flanked 
by detached Doric columnar pilasters with molded bases and plain plinths. 
Molded base and turned pear-shaped feet. Bronze ring for suspension. 


Painted dark green and gilded. 
Height, 31 inches; width, 1414, inches. 


332—FrorENTINE GittT TABERNACOLO SHRINE OF THE SIXTEENTH CENTURY 


Rectangular shape, with molded pointed pediment, the tympanum and 
plain frieze painted with light-colored scrollings on a blue ground, sup- 
ported by two detached fluted Ionic columns. On platform with steps, 
plinths painted with scrollings and molded base. Interior with molded 
round-arched opening occupied by round-arched niche surmounted by a 
scrolled acanthus-leaf carved in relief and by a circular painted medal- 
lion. Below is a plinth painted in gold on a blue ground with scrolls. 


Painted and gilt. 
Height, 34 inches; width, 19 inches. 


333—Tuscan Paintep SHRINE OF THE SIXTEENTH CENTURY 


Molded pediment and fluted Corinthian pilasters. Painted inside with 
cross and the Virgin and St. John. Hinged doors, with insides painted 


with saints. 
Height, 2 feet 9 inches; width, 1 foot 8 inches. 


334—FLorENTINE Carved, Paixtrep ann Gttt Woop TABERNACLE OF THE 
SIXTEENTH CENTURY 
Rectangular shape. Molded cornice, paneled pilasters, molded and 
gadrooned apron. Frieze and side panels painted with floral scrolls. 


Height, 2 feet 31, inches; width, 1 foot 8 inches. 


335—Two SIENEsE CarvED AND PainteED Woop BrackeETs OF THE FIFTEENTH 
CENTURY 
Console brackets, with backs and shelves having molded edges, the latter 
supported by molded consoles, the fronts as shields. Painted, in various 
colors, with a coat-of-arms in monogram, and diamond diapers. 


Height, 141%, inches; width, 9 inches. 


336—Tuscan Watnut TABERNACLE OR SHRINE OF THE SIXTEENTH CENTURY 
Round-arched top, with molded and voluted scrolls; shaped pilasters 
with voluted feet. Rectangular molded pedestal. 


Height, 3 feet 2 inches; width, 2 feet 1 inch. 


337—FLoRENTINE PatInTED AND Gitt Woop CRADLE OF THE SIXTEENTH 
CENTURY 


Rectangular shape, with shaped and voluted head and foot, and shaped 
and voluted rockers. Gilded, and with frieze of gold scrolls on a blue 
ground. Cushion in red silk finished with silver laces. 


Height, 1 foot 5, inches; length, 2 feet 2, inches; width, 1 foot 31/, inches. 


From the Marcuard Collection, Florence. 


338—Parr oF FLoRENTINE Watnut PEDESTALS OF THE SIXTEENTH CENTURY 


Rectangular shape. Fronts carved with scrolls, in relief, and pierced 
with oval handle-holes. Shaped apron. 


Height, 1 foot 234 inches; length, 1 foot 614 inches; depth, 1 foot 9 inches. 


339—Tuscan Carvep, Painrep anp GinpED Woop Pepestat or THE EarLy 
SIXTEENTH CENTURY 
Semicircular shape. Lower portion arranged as a cupboard with hinged 
door, carved with figures of angels below and cherubim above, and 
flanked by Amorini. Detached carved pilasters at angles. Above is a 
pedestal with incurved carved sides, with carved and fluted pilasters at 
the angles. 


Height, 3 feet 61, inches; width, 2 feet 8 inches; depth, 1 foot 41%, inches. 


340— VENETIAN PatnTED anp Gitt Pricker Woop CANDLESTICK OF THE SIXx- 
TEENTH CENTURY 

Turned vase and baluster-shaped standard, with vase-shaped bobéche 

and circular molded foot. Painted white, and decorated with floral 


sprays and lines in black and with gilt bands. 
Height, 63 inches. 


3841—Tuscan Watnut Correr OF THE SIXTEENTH CENTURY 


Rectangular hinged lid, with molded and fluted edge, with end braces. 
Plain front, with female caryatids at the angles, molded base and lions’ 


head feet. 
Height, 914 inches; length, 22%, inches; width, 111% inches, 


342—Tuscan Watutnut SToou oF THE SIXTEENTH CENTURY 


Rectangular shape with carved bulbous baluster-shaped legs and curved 
side rails and longitudinal stretcher. Upholstered top finished with silk 
ball fringe. 


343—VENETIAN Watnut Miniature Desk oF THE SIXTEENTH CENTURY 


Rectangular top with molded edge, sloping hinged front, the interior 
fited as a desk with drawers and pigeon-hole, body with four drawers. 
Painted, and with gilt mounts. 


Height, 18 inches; width, 20 inches; depth, 10 inches. 


From the Dal Zotto Collection, Venice. 


344—Forentine Watnur CuHarr oF THE SIXTEENTH CENTURY 
Sgabello type. Shaped back, wooden seat, rectangular pedestal and 
shaped front and back supports. 


345—FLoreENTINE Watnut Cuan oF THE SIXTEENTH CENTURY 
Sgabello type. Shaped back, semi-octagonal wooden seat, rectangular 
pedestal and shaped front and back supports. 


346—FLoORENTINE WALNUT CHAIR OF THE SIXTEENTH CENTURY 
Sgabello type, with back carved and pierced with heart-shaped scrolls 
and medallion. Wooden seat front support, carved with voluted scrolls 
and acanthus leaves and shaped back support. 


347—Mantuan Watutnut “Amatoria” CHarr oF THE Earty SIXTEENTH 
CENTURY 
Sgabello type. Shaped back, carved with portrait medallion of Knight 
of Malta. Wooden seat, carved with coat-of-arms of crowned eagle, 
initials “G. P.,” date 1516” and Maltese crosses. 


848—Mantuvan Waunout “Amatoria” Cuan OF THE Earty SIXTEENTH 
CENTURY 
Sgabello type. Shaped back, carved with figure of saint holding model 
of cathedral, and coats-of-arms of Visconti and Gonzaga, Dukes of Milan 
and Mantua. Wooden seat, carved with portraits of bride and groom. 
Spreading legs. 
Note: This, and the following, which match the “Amatorio” Cabinet, were made 
in Mantua, but under Tyrolean influence. 


349—FLorentine Watnur Cuair oF THE SEVENTEENTH CENTURY 
Sgabello type. Triangular open back, carved with female caryatids and 
acanthus-leaf scrolls, shaped head rail carved with voluted scrolls and 
overlapping patera, octagonal wooden seat with fluted edge. Front sup- 
port, pierced and carved with voluted scrolls, mask and acanthus leaves, 
on paw feet. Shaped back support. 


350-—FLORENTINE WALNUT CHAIR OF THE SIXTEENTH CENTURY 
Sgabello type. Shaped back, wooden seat, rectangular pedestal and 
shaped front and back supports. 


351—FLorENTINE WaAuNuT CHAIm OF THE SIXTEENTH CENTURY 
Sgabello type. Shaped back, semi-octagonal wooden seat, rectangular 
pedestal and shaped front and back supports. 


352—FLoORENTINE WALNUT CHAIR OF THE SIXTEENTH CENTURY 
Sgabello type, with shaped back, wooden seat, rectangular pedestal and 
shaped front and back supports. 


353—Pair or Tuscan Watnut Cuarrs oF THE SIXTEENTH CENTURY 
Straight open backs, with acanthus-leaf finials and carved horizontal 
splats, wooden seats with carved aprons, carved deep front rails, square 
legs and side rails. 


354—Pair oF FLoRENTINE WaLNuT CHairs OF THE SEVENTEENTH CENTURY 
Sgabello type. Lyre-shaped backs, pierced and carved with scrolled 
escutcheons and imbricated volutes and surmounted by crestings pierced 
and carved with voluted scrolls, shaped and medallioned wooden seats, 
front supports, pierced and carved with imbricated voluted scrolls and 
acanthus leaves, on claw and ball feet. Shaped back supports. 


355—Two Tuscan Intai Watnot “Fratixna” CuHarrs oF THE FIFTEENTH 
CENTURY 
Spade-shaped open backs, with deep splats, inlaid bands of ‘“Fratina” 
work. Spade-shaped wooden seats, the aprons inlaid with ‘“Fratina” 
work, square legs and rail. 
Note: Fratina work was so called from the Italian name of the monks (Frate) 
who originally practised the art in the same manner as the “Certosini” made the inlay 
known as “Certosina.” 


356—Ser or Four FLORENTINE InNLAID Watnout “FRatTiIna”’ CHairs OF THE 
FIFTEENTH CENTURY 
Spade-shaped backs, with deep splats inlaid with panel-shaped bands of 
“Fratina” work. Spade-shaped wooden seats with aprons, inlaid with 
“Fratina” work, square legs and rails. 


B57 


357—Ser or Four FLorentine WatNnur CHairs OF THE SIXTEENTH CENTURY 
Straight square back, with acanthus-leaf finials, horizontal splats and 
deep front rail pierced and carved with Florentine fleurs-de-lis. Wooden 
seat with carved apron and square legs. 


358—Tuscan Watnut ARMCHAIR OF THE SIXTEENTH CENTURY 
Straight open back. Acanthus-leaf finials and carved horizontal splats. 
Straight carved arms on square columnar supports. Wooden seat, with 
carved apron, carved deep front rail; square legs and stretcher shelf 
with carved apron. 


359 : 360 


359—Pair or Tuscan Watnur CuHairs oF THE SIXTEENTH CENTURY 
Straight backs, with acanthus-leaf finials, carved side supports and head 
piece and horizontal splats, shaped and carved with scrolls and shells. 
Wooden seats, square legs with apron and deep front rail carved to 
correspond with head-rail. 


360—Pair oF ‘Tuscan WatNnut Cuarrs OF THE KaARLY SIXTEENTH CENTURY 
Straight square backs, with acanthus-leaf finials, straight square legs, 
shaped front rails and ball feet. Seats and back in leather secured with 
brass-headed nails, the backs embossed with masks and paneled borders 
with figures and conventional floral sprays. 


361—Tuscan Watnut ARMCHAIR OF THE SIXTEENTH CENTURY 


Rectangular open back, with carved and voluted head rail and vertical 
central splat, voluted arms on carved supports, wooden seat with straight 
front and carved apron, turned legs and molded rails. 


362—Pair oF FLORENTINE Watnut Monastery CHaiRS OF THE SIXTEENTH 
CENTURY 


Formed of five square standards pivoted so as to fold, with shaped 
head rail. 


363—Turee FLORENTINE Watnut AnD BrEcHWoop CHaiRS OF THE LATE 
FirrEENtH CENTURY 


Open spindled, shaped and carved backs. Rush-bottomed seats. 


364—Frencn Oak “CaQuETEUSE” ARMCHAIR OF THE Earty SIXTEENTH 
CENTURY 


Straight open back, with fluted side supports and head rail, carved with 
scrolls and a shield charged with a coat-of-arms, incurved arms, on turned 
supports, wooden spade-shaped seat, turned legs and molded rails. 


Note: This is a very unusual example. 


365—Pair oF FLoRENTINE WauNutT CHAIRS OF THE SIXTEENTH CENTURY 


Straight open backs, with acanthus-leaf finials and horizontal carved 
splats. Straight arms on square baluster supports. Wooden seats, 
square legs and shaped rails. 


366—FLoRENTINE Wautnut CHAIR OF THE SIXTEENTH CENTURY 


Shaped back with turned rosettes. Shaped wooden seat, spreading bal- 
uster-shaped legs and square rails. 


367—-FLORENTINE WALNUT ARMCHAIR-OF THE SIXTEENTH CENTURY 


Straight square back with acanthus-leaf finials, straight arms on balus- 
ter supports, square legs and pierced and carved deep front rail. Seat 
and back in old leather secured with ornamental brass-headed nails. 


368—Tuscan Watunvut CHAIR OF THE SIXTEENTH CENTURY 


Square open back. Spindled horizontal splat, head rail carved with 
scrolled escutcheon flanked by volutes and acanthus leaves, fluted voluted 
finials, straight seat front, square legs, front, back and side rails. Seat 
upholstered in orange velvet. Finished with silk fringe. | 


3869—FLoRENTINE Watnut ARMCHAIR OF THE SIXTEENTH CENTURY 


Straight square back, curved, molded and voluted arms carved with acan- 
thus leaves on turned and fluted supports, straight seat front, turned 
and fluted legs, block feet carved with acanthus leaves, shaped deep 
front rail carved with acanthus-leaf scrolls and turned side rails and 
stretcher. 


370—FLoRENTINE WALNUT ARMCHAIR OF THE SIXTEENTH CENTURY 


Straight square back, with acanthus-leaf finials, straight arms on balus- 
ter supports, square legs and pierced and carved deep front rail. Seat 
and back in old leather secured with ornamental brass-headed nails. 


371—FLorENTINE Watnut CuHair oF THE FourTEENTH CENTURY 
Rounded back, with head rail supported by square spindle, and spread- 
ing turned legs. 


372—Two Friorentine WautNut ArRMCHAIRS OF THE SixTEENTH CeEewnrurRy 
Straight backs, carved arms on turned supports, turned legs, rails and 
stretchers. Seat and backs in “punto floscio” silk embroidery of scrolled 
leaves and flowers, in colors on white grounds. Finished with silk fringe. 


373—Tuscan Watnut ARMCHAIR OF THE Earty SIXTEENTH CENTURY 
Straight open back, with acanthus-leaf finials, carved voluted arms on 
baluster supports, square legs and deep pierced front rail. Seat and 
back upholstered in leather secured with brass-headed nails and finished 
with silk fringe. Back embossed with oval escutcheon and scrolls. 


374—Tuscan Watnut ARMCHAIR OF THE SIXTEENTH CENTURY 
Shaped back, with rosetted head rail and splat, carved with a shield- 
shaped escutcheon, mantled with a scrolled label and charged with the 
coat-of-arms (a scorpion) of the Sienese family for whom the chair was 
made. 


From the Wilkins Collection, Florence. 


375—Umeprian Waxtnut ARMCHAIR OF THE SIXTEENTH CENTURY 


Straight square paneled back, carved with an oval cartouche surmounted 
by opposed birds and with shaped cresting, molded side supports and 
carved voluted finials. Flat voluted arms on molded square supports, 
wooden seat, straight square legs, shaped front rail and square side 


rails. 


376—FLoRENTINE WALNUT SETTEE OF THE SIXTEENTH CENTURY 
Shaped back, curved arms on turned supports, with turned legs, rails 
and stretcher. Seat and back in “punto floscio” silk embroidery of 
scrolled leaves and flowers in colors on a white ground. Finished with 


silk fringe. 


Length, 3 feet 7 inches. 


377—FLoRENTINE WALNUT TABLE OF THE SIXTEENTH CENTURY 
Rectangular top with molded edge. Turned spreading legs and rails. 


Height, 2 feet 9 inches; length, 2 feet 81/, inches; width, 1 foot 314 inches. 


378—FLORENTINE WALNuT TABLE OF THE SIXTEENTH CENTURY 
Rectangular top, with plain edge. ‘Turned spreading legs and square 


rails. 
Height, 2 feet 9 inches; length, 2 feet 8 inches; width, 1 foot 414 inches. 


379—FLoRENTINE Certosino Intaip Watnut Miniature Tasle oF THE 
SIXTEENTH CENTURY 
Rectangular top on crossed legs with square longitudinal stretcher. 
Inlaid, with ivory and colored woods, in geometrical patterning. 


Height, 1 foot 4 inches; length, 1 foot 7 inches; width, 1 foot 1 inch. 


380—Tvuscan WatnutT TasLE OF THE SIXTEENTH CENTURY 
Rectangular top.. Shaped apron, fitted with drawer. Double shaped 
and scrolled side supports. 


Height, 2 feet 11% inches; length, 1 foot 101% inches; width, 1 foot 3 inches. 


381—Ser or Turee Iranian WaLNuT ARMCHAIRS AND SETTEE OF THE SEVEN- 
TEENTH CENTURY 
Upholstered backs with scrolled and voluted head rails, incurved wings 
and arms, cabriole legs and turned rails. Seats, backs, wings and arms 
upholstered in red silk damask finished with yellow galloon. 
Length of settee, 5 feet 10 inches, 


From the collection of Prince Doria-Pamphili, of Rome. 


(Illustrated ) 


882—Tvuscan Watnct Prit-Diev oF THE SIXTEENTH CENTURY 
Rectangular top, with molded edge, plain apron flanked by carved masks, 
body arranged as a cupboard with hinged door flanked by voluted carya- 
tids. Plinth arranged as a box with hinged lid, carved base and paw 
feet. 


Height, 2 feet 10 inches; width, 2 feet 1 inch; depth, 1 foot 9 inches. 


383—Pair or Tuscan Watnutr TapLes oF THE SIXTEENTH CENTURY 
Semicircular tops with plain edges, supported on cross braces with flat 
shaped and scrolled legs and back rails. Form circular table when 


united. 
Height, 291%, inches; length, 461% inches; width, 21% inches. 


384—Tvuscan Wauner TasLeE OF THE SIXTEENTH CENTURY 
Rectangular shape. ‘Top with plain edge. Apron fitted with two draw- 
ers having paneled fronts and wooden knobs. On two flat shaped and 
scrolled supports with longitudinal arched stretcher formed of wrought- 


iron rods. 
Height, 30 inches; length, 44 inches; width, 25 inches. 


385—Tuscan Watnur CarninEY OF THE SIXTEENTH CENTURY 
Rectangular top, with molded, dentelled edge. Apron with drawer with 
wooden knob, flanked by carved modillion brackets. Arranged as a cup- 


board, with hinged door having wooden knob flanked by fluted pilasters. 
Molded base and feet. 


Height, 3 feet 814 inches; width, 3 feet 1% inch; depth, 1 foot 11 inches. 


72 


AND SETTEE 


No. 381—SET OF FOUR ITALIAN WALNUT ARMCHAIRS 
OF THE SEVENTEENTH CENTURY 


386—Tuscan (Arezzo) Watnut TasLe or THE Earty FirreeNntH CENTURY 
Circular top with plain edge.and hinged wings, supported by shaped 
brackets. Plain apron, fitted with paneled front drawers and wooden 
knob, shaped end supports and shaped, tenoned and keyed horizontal 


stretcher. 
Height, 2 feet 6% inches; diameter, 4 feet 5%, inches. 


387—FLoRENTINE Watnut TasLe oF THE SIXTEENTH CENTURY 
Rectangular top with molded and fluted edge. Frieze carved, in low 
relief, with oval acanthus-leaf medallions, and fitted with drawer with 
fluted wooden knob, turned baluster-shaped legs, fluted, astragalled and 
carved with acanthus leaves; square foot rails. 


Height, 8114, inches; length, 48 inches; width, 32 inches. 


3888—Tuscan Watunut “Asso pi Corer” TABLE OF THE FIFTEENTH CENTURY 


Rectangular top, with molded fluted edge. Plain apron, fitted with 
drawer with wooden knob. Lyre-shaped end supports on shaped cross 
bases, with molded feet and tenoned and keyed shaped longitudinal 
stretcher. 


Height, 1 foot 10 inches; length, 2 feet 6 inches; width 1 foot 41%, inches. 


889—Tuscan Waunvut TaslLrE oF THE LATE SIXTEENTH CENTURY 


Rectangular top, with molded carved edge. Open lyre-shaped end sup- 
ports, with voluted feet and curved braces of knobbed wrought-iron rods. 
Carving heightened with gilding. 


Height, 2 feet 91%, inches; length, 5 feet; width, 2 feet 4 inches. 


FIrTEENTH CENTURY 


Tripod pedestal of three legs shaped 


as eagles’ legs with rounded ends and claw feet. 
Height, 2 feet 7 inches; diameter, 3 feet. 


390—FLoRENTINE Wautnut TaBLe. 
Octagonal top with plain edge. 


Note: This interesting example of Florentine art came from the collection of the 
great soldier-poet and Commander-in-chief of “Fiume d'Italia,’ Gabriele d’Annun- 


zio. It was purchased at the Capponcina Sale. 


391—F LoRENTINE Wautnutr Tape oF THE LATE FIFTEENTH CENTURY 


Octagonal top with plain edge, on tripod standard formed of three 
seated lions, their tails forming oval panels, carved with escutcheons 
charged with the crest of the della Rovere family. Incurved base with 
straight sides. 

Height, 2 feet 9 inches; diameter, 2 feet 11 inches. 


Note: The maker of this table was inspired by a Roman marble table. 


From the old Simonetti Collection, Rome. 


392—Tuscan Watnut CaBINET OF THE SIXTEENTH CENTURY 
Rectangular shape. Top with molded edge. Frieze, fitted with drawer 
and divided by modillions. Body arranged as cupboard with two hinged 
doors having molded paneled fronts and turned wooden knobs, flanked 
by tapering pilasters carved, in low relief, with oval escutcheons, drapery 
festoons and guilloche patternings. At the angles are Doric columns. 


Molded base and paw feet. 
Height, 331% inches; width, 3714, inches; depth, 19 inches. 


393—Tuscan Wautnur CaBINET OF THE SIXTEENTH CENTURY 
Rectangular shape. Molded cornice, carved with egg-and-dart orna- 
ment and frieze fitted with two drawers, having paneled fronts and 
wooden knobs, divided and flanked by voluted medallions, supported on 
three fluted and astragalled Ionic pilasters. Body arranged as cup- 
board with two hinged doors having molded paneled fronts and wooden 
knobs. Molded base, plain plinth and shaped bracket feet. 


Height, 451%, inches; width, 621, inches; depth, 20% inches. 


394—FLoRENTINE WatNvut Priz-Diev oF THE SIXTEENTH CENTURY 


Rectangular shape. Broken top with molded edge. Frieze, fitted with 
drawer with broken raised and molded. paneled front, flanked by dies 
carved with cherubim. Body arranged as a cupboard with hinged door, 
having paneled front enclosing raised inner panel carved with cherub 
and flanked by female caryatids with tapering, voluted cherubim and 
tassel carved terminations, molded base, molded and gadrooned sub- 
base and molded and voluted feet. 


Height, 30 inches; width, 31 inches; depth, 23 inches. 


395—Pair or Tuscan CaBINETS OF THE SIXTEENTH CENTURY 


Rectangular shape. Semi-octagonal tops, with molded edges. Plain 
friezes, the centers fitted as drawers having swinging brass ring handles 
and the sides forming upper parts of hinged doors divided by raised 
molded panels and having fronts with broken, raised and molded panels. 
Chamfered angles with molded panels, sides with raised molded panels, 
plain plinths, molded bases and bracket feet. 


Height, 391, inches; width, 59%, inches; depth, 15 inches. 


396—Parr or Tuscan eee Warwer Swe 
TEENTH CENTURY is 
Semi-octagonal shaped tops, with molded dadgett 

open supports, square shaped cross braces 
longitudinal stretchers and shaped feet. 
Height, 321% inches; length, 52 


(I Uustrated) 


IdVL ACIS LANIVM (vOONI) NVOSOL AO ULVd—968 “ON 


AUNLNAO HLINAALXIS ULV! AH HO Su 


397—Tuscan Watnut GaTE-LEGGED TABLE OF THE SIXTEENTH CENTURY 
Circular hinged top, turned columnar legs, with columnar gate, molded 


rails and ball feet. 
Height, 2814 inches; diameter, 29 inches. 


(Illustrated) 


398—NortH Iratian WatNut CaBINET OF THE FIFTEENTH CENTURY 


Rectangular shape. Top with molded edge. Body arranged as cup- 
board with two hinged doors having raised paneled fronts enclosing 
raised and molded octagonal panels and wooden knobs and flanked by 
octagonal panels. Sides with raised panels enclosing scalloped medal- 
lions. Supported on shaped and incurved side brackets with molded 


cross bases. 
Height, 31 inches; width, 26% inches; depth, 16 inches, 


399—Tvscan Watnvutr CaBINET OF THE SIXTEENTH CENTURY 

Rectangular shape. Top with molded and fluted edge. Frieze, fitted 
with two drawers having paneled fronts and bronze knobs, flanked and 
separated by modillions. Body arranged as a cupboard with two hinged 
doors having paneled fronts and bronze knobs, flanked by tapering 
pilasters carved, in low relief, with scrolled escutcheon capitals and 
guilloche patterned shafts. Bowed carved plinth, molded base with band 
of bead-and-reel ornament and shaped bracket feet. 


Height, 37 inches; width, 36 inches; depth, 16 inches. 


400—Frencu Goruic PEpEsTAL CuPBOARD OF THE FIFTEENTH CENTURY 


Semi-hexagonal shape. Molded cornice front and sides paneled with 
Gothic tracery, angles with Gothic columns, with the lower parts of 
their hexagonal shafts carved with imbrications, molded bases and pin- 
nacle tops. Fitted as a cupboard with shelf and hinged door pierced 
with round-arched openings filled with Gothic tracery. Front, fitted with 
wrought-iron lock and bolt, painted with the head of Christ on a St, 
Veronica napkin and with inscriptions in Gothic characters, the sides 
with female Saints, one holding a Cross, the other the Pillar of Flagella- 
tion. Molded base. Tracery gilt. 


Height, 4014, inches; width, 19 inches; depth, 11 inches. 


(Illustrated) 


400 


397 


> 


401—Tuscan Centra [Iranian Watnut TABLE OF THE SIXTEENTH CENTURY 


Octagonal top, with molded edge, with plain molded apron with cham- 
fered angles on four baluster-shaped turned legs with rectangular molded 
feet and square cross stretcher with rosette at intersection. 


Height, 2 feet 71% inches; diameter, 4 feet 21% inches. 


402—Tuscan Watutnut TABLE OF THE SIXTEENTH CENTURY 


Rectangular top with molded and carved edge, fluted frieze, baluster- 
shaped legs and square carved rails. 


403—Tvuscan Watnut CABINET OF THE SIXTEENTH CENTURY 


Rectangular shape. Rising back, arranged with two compartments with 
sliding fronts. Body as a cupboard, with two drawers above and hinged 
door, all with carved fronts. Molded base and paw feet. 


Height, 3 feet 5Y, inches; width, 3 feet 6 inches; depth, 1 foot 5 inches. 


404—Tuscan WrovucutT-iron AND Granite TaBLE oF THE SIXTEENTH 
CENTURY 
Circular top, with plain edge of Oriental granite, from a Roman exca- 
vation. Wrought-iron cylindrical standard on tripod stand of three 
curved knobbed legs of wrought-iron base. 


Height, 3 feet 11% inches; diameter, 3 feet 10 inches. 


From the old Simonetti Collection, Rome. 


405—Tuscan Watutnut CABINET OF THE SIXTEENTH CENTURY 


Rectangular shape. Top with molded and dentelled edge, frieze fitted 
with drawer flanked by modillions. Body arranged as a cupboard with 
two hinged doors having raised and molded paneled fronts flanked by 
Ionic fluted pilasters. Plain plinth, molded base and shaped bracket 


feet. 
Height, 34 inches; width, 31%, inches; depth, 13 inches. 


406—FiorentiIneE Watnur Werittxc Desk or THE Earty SixTEENTH 
CENTURY 
Rectangular shape. The back, with scrolled side brackets fitted with 
four drawers with bronze knobs and central arched compartment. Writ- 
ing slab with molded edge and rounded angles; below is a drawer with 
bronze knobs and shaped apron. Spreading square legs, longitudinal 
stretcher and braces. 


Height, 2 feet 11 inches; width, 3 feet 5 inches; depth, 1 foot 11 inches. 


407—Tuscan Watnut TasLeE oF THE Earzty SIXTEENTH CENTURY 


Rectangular shape. Top with plain edge, on two flat urn-shaped sup- 
ports with chamfered cross bases and square longitudinal tenoned and 


keyed stretcher. 
Height, 31 inches; length, 61 inches; width, 251, inches. 


408—Tuscan Watnut CABINET OF THE SIXTEENTH CENTURY 


Rectangular shape. Molded cornice and plain frieze. Body arranged 
as a cupboard with two hinged doors having molded paneled fronts and 
wooden knobs, flanked by vertical molded panels. Plinth fitted with 
drawer with molded paneled front and wooden knobs and molded base. 


Height, 474 inches; width, 62 inches; depth, 24 inches. 


409—Tvuscan Wainer Writine Center Desk or THE Late SrixTeenrH 
CENTURY 
Rectangular top with molded edge, sloping hinged fall-front apron fitted 
with two drawers with wooden knobs, turned baluster legs, square rails 
and rectangular feet. 


410—FLorENTINE Watnut TaBLe or THE SIXTEENTH CENTURY 
Rectangular shape. Top with molded edge carved with acanthus leaves, 
inlaid with slab of dark wood. End supports of lyre-shaped outline 
carved with winged lions, voluted scrolls and paw feet on molded and 
incised cross bases. Square longitudinal stretcher carved, in low relief, 
with panels of twisted strap design. 
Height, 29 inches; length, 59 inches; width, 391/, inches. 


411—Tvuscan Wautnut TABLE OF THE EAarRLy SIXTEENTH CENTURY 


Octagonal top, with molded edge, rectangular pedestal with incurved 
neck, spreading body and molded foot. Rectangular molded base. 


412—-FLorENTINE Watnut TasLE oF THE Earty SIXTEENTH CENTURY 


Octagonal top, with plain edge. Tripod pedestal of three legs carved 
with volutes and acanthus leaves and with paw feet. The pendant at 
the intersection is carved with the Florentine fleur-de-lis. 


Height, 2 feet 10 inches. 


Note: This exceedingly rare example was evidently made for a ruler of Florence 
as the arms (the Fleur-de-lis of Florence) testify. 


413—FLorENTINE Watnvut TasLE OF THE SIXTEENTH CENTURY 


Hexagonal top, with molded and fluted edge on tripod support formed 
of three voluted and scrolled wings with female head terminations and 


paw feet. 
Height, 30 inches; diameter, 39 inches. 


414—Tuscan Watnvut TasLe of THE SIXTEENTH CENTURY 


Rectangular-shaped top, with molded edge, paneled apron, and pierced 
flat scrolled and voluted side supports with flat shaped arched braces. 


Height, 2 feet 5 inches; length, 2 feet 3 inches; width, 1 foot 7 inches. 


415—VENETIAN CarvepD AND Gitt Woop anp Marsie Taste or THE Six- 
TEENTH CENTURY 

- Rectangular top, inlaid with slab of Rosso antico marble and with carved 

edge. Apron carved with leaf meander. Rectangular pedestal, carved 

with acanthus-leaf pendants and with octagonal incurved foot carved 

with voluted scrolls and banded acanthus leaves. Rectangular base, 

carved with leaf meander and scrolled acanthus-leaf feet. Carving gilt 


on red ground. 


Height, 2 feet 11 inches; length, 3 feet 7 inches; width, 3 feet 7 inches. 


416—Umnprian Watneut CapiNer oF THE SIXTEENTH Cenruny 
Rectangular top, with molded edge, apron fitted with two dra 
rated by fluted brackets, body arranged as a cupboard with t 
doors with diamond medallion carved fronts separated by | 
brackets, molded and carved base and paw feet, Light 4 
unusual state of preservation. i 


(Illustrated) 


ye’ 


417—Parr or Firorentixe Watnvur Canixets oF THE SIXTEE? 
Rectangular tops, with chamfered angles and molded | 
fitted with drawers in center, bodies with two hinged Ac 
aie panels, molded bases and flat feet. 


riper ihe | (Illustrated) 


oF ae Tad 
oe a 


416 


418—FLoRENTINE Watnut Prit-Dievu or THE SIXTEENTH CENTURY 


Rectangular-shaped top, with molded fluted edge, apron fitted with 
drawer and bronze handle flanked by carved masks, body with hinged 
door flanked by caryatid pilasters, plain plinth fitted with drawer and 
gadrooned base. 


Height, 2 feet 91, inches; width, 2 feet 21%, inches; depth, 2 feet Y% inch. 


From the Wilkins Collection, Florence. 


419—FLorENTINE Watnut Capinet TABLE oF THE Earty SIXTEENTH 
CENTURY 


Octagonal top, with molded fluted edge supported on voluted brackets. 
Rectangular pedestal, formed as a cupboard with hinged door having 
a bronze looped handle and paneled front carved with guilloche border, 
flanked by pilasters carved with half caryatids and acanthus leaves. 
Carved gadrooned base and paw feet. 


Height, 2 feet 10 inches; diameter, 4 feet 5 inches. 


Note: A cabinet table of this description, in its original condition, is very unusual. 


420—FLorENTINE CARVED AND | Grr Wooo Tumevor Screen OF 
SEVENTEENTH Cexreny : : om 


three panels at fendi floscio” i silk Hee che: of seroled Tea 
flowers in colors on a white ground. ~ oe 


Height, 6 feet 7 inches: width 6 hae 10: 


2 


ch 


floral festoons. © Round-arched ee frame, 
spandrels. Marbled and gilt. a 


421—Tuscan (Lucca) Crcutarn Watyur Taste or THE 
Aa 


with two dirawers having oni ‘ashe On ene 
and center supports, and molded cross bases. § 
longitudinal stretchers. 


‘tg ee eae Height, 281, ies tite 
_(Ultustrated 


WIdVL LANIVM UVTI (yooonl) NVOSOL—Ié? ON 


AMOLNHO HLINAALXIS WLVT AML HO 


Rosen atie top, with rahe aa dentelled aie 
rosettes and fitted with a drawer and with oe a 


AUNINAD HINGALXIS AHL AO WIAVE LAN TVA NVOS/N.L—22P “ON 


423—Tuscan Watnut Tae OF THE SIXTEENTH Century 
Rectangular top, with molded carved eee aes ate 


fon civadine tenoned ae kegel ee alee ae 
Height, 2 feet 514 incheas length, 5 feet 81% ioe : 
(Illustrated) ore 


‘“ 


425—Frorentine Carvep Watnut Tasie or THE | 
Rectangular top, with molded edge, ‘ee end 


feet on rectangular flat base rails ar 
shaped base. 


Height, 2 feet 7 ine length 7 feet 15 = oH Z 


(1 llustrated) 


ereucnemcnaerenraneanseaetnanisss tennessee 


426—T scan Watxur Tasie or THe SIXTEENTH CENTURY 
Rectangular top with molded and fluted edge. Turned « 
with square end rails and longitudinal stretcher. 


Height, 2 feet 8 inches; length, 5 feet 2 inches; width, a 
(Illustrated) 


Height, 2 feet 8 nclleds oor 14 fai ae 
(Illustrated) — 


Rectangular top. Fitted with two 5 deen ad ae re 
hinged doors carved with leaf diationis and leaf-carved D1 
Wooden knobs. . 


Height, 3 feet %, ice length, . fash 5 inch ‘ Be 


430—Tuscan Waunvutr TaspLe OF THE SevenTEENTH ¢ 


Rectangular top, with ee elves End Rs. elle 
caryatid half figures, festoons of fruit, oval medallions and 

voluted acanthus leaves. Shaped cross bases carved with y ole 
and leaves. Molded longitudinal stretcher with arcade ot 
pee columns carved with poeta leaves. Yo 


ioe the collection of the Marquis tapes au : 
“(Illustrated 


Rectangular top, with plain edge. End supports ° 
with cylindrical feet on square cross bases cus 
neg stretcher. 


ef 


AUNINGAD HLNAALXIS HHL AO ATAVL LANTVM ANILLNAUYOTA—62P “ON 


t 


? 


431—Tuscan Watnur Taste or THE Late SIXTEENTH Century et 
Rectangular top, with plain edge, shaped and scrolled open 
and square shaped cross braces with voluted feet. Serolled 1 


longitudinal stretcher. — 
“Heign, 34 ae length; 70 “inches 


a . 
iar “s ee heh St 


C Ulustrated ise 


Rectangular top, with inolded edge, fluted and ast 
columnar legs, square foot rails and ball feet. 


Height, 361, inches; length, 91 mn 


bases. Longitudinal tenoned and ue : 
shaped ends. 


L—I8¥ ON 


AUNLNAO HINAWLXIS ALVWT HHL dO WIAVL LAN TVA Nvosf 


markable for its epee light pute aa its ex 


presen oeus as well as its unusual size. 
Height, 2 feet 7, inches; length, 13 feet 7 inches; w 
(Illustrated) 


435—Parr or Firorentine Rerecrory TABLES OF THE Six 
Rectangular tops, with plain edges. Double co 
supports, with voluted feet on rectangular mo. 
Height, 2 feet 6 inches; length, 7 feet 4 inches 
(Illustrated) 7 


r 


“ oe 


a a, SN Pa 


Rapa Ne Seley 
ie Rape PS a alae 


NS Te 


436—Lyonnats Oak Taste or tHE Henry IV Periop 
ae om with molded ee end ee sh pe 


Turned side . sapports she arms. ayennen head 
Seat and back in tapestry of the period. 


asp? This screen corresponds to the armichalzs herein 


with similar enbrota 4 3 Ket as 


and (i 


AO WIAVL AVO SIVNNOAT—9EP ‘ON 


aoluadd AI AUNHH AHL 


frieze, divided by serbia ae carved meet bi peal ve 
with dolphins, having voluted tails, and with acanthus 

block feet. Longitudinal stretcher, carved with dolp 
leaves. Probably one of the finest tables in existence 
example of this period of ‘the ‘Italian Seep te 


From the old Simonetti Collection, Rome. 


(dilustrated) a = vi 
: yh ae 


eta 


VOSN.L—88P ON 


AMNEINHO HLNADLXIS AHL AO HWIAVL LANIVM N 


440 


441— 


EnewisH GreEN Lacquerep Escriroire Bookcase oF THE EIGHTEENTH 
CENTURY 

In two portions. Upper portion with curved broken pediment and three 
gilt vase-shaped finials arranged as cupboard with two hinged glazed 
doors with trefoil arched tops. Lower portion arranged as desk with 
fall front, the interior fitted with pigeonholes and drawers. Drawer 
below and kneehole front with three drawers on either side and central 
arched recess. Molded base and bracket feet. Finished with raised 
lacquered Chinoiseries in gold and colors on a green ground. 


Height, 7 feet 8 inches; width, 3 feet 4 inches; depth, 1 foot 11 inches, 


(Illustrated) 


‘FLORENTINE WaLNuT CABINET OF THE SIXTEENTH CENTURY 


Rectangular shape, in two portions. Upper portion as cupboard with 
two hinged doors, paneled and carved with nude figures in arched niches 
surmounted by eagles. Flanked by fluted and carved columnar pilasters 
and with pierced cresting carved with central figure of a warrior flanked 
by seated figures of Putti, one holding a cornucopia, the other a sheaf of 
wheat. Lower portion with drawer carved with masks and festoons; 
below, two hinged doors carved with masks and scrolls. Three caryatid 
pilasters, carved with acanthus leaves. Molded base. 


Height, 7 feet 11 inches; width, 4 feet 3 inches; depth, 2 feet 1 inch. 


i 


eee i desde 


No. 440—ENGLISH GREEN LACQUERED ESCRITOIRE BOOKCASE 
OF THE EIGHTEENTH CENTURY 


442—Umnprian Watnut CaBINET AND STanp OF THE Earty SIXTEENTH 
CENTURY 
Rectangular shape. Cabinet with molded cornice, frieze decorated with 
nine carved projecting bearded heads and fitted with two drawers, of 
which the knobs are formed by two heads; on either side are female 
caryatids terminating in drapery festoons and pointed-leaf pendants. 
Fall front with keyhole escutcheon carved as a mask. Interior fitted 
with fourteen drawers with molded paneled fronts, one drawer with front 
carved with mask and voluted scrolls, two compartments with hinged 
doors and one central compartment, the front carved with caryatid figure 
and fitted with four secret drawers. Stand with molded top, frieze deco- 
rated with carved projecting heads. Body arranged as cupboard with 
two hinged molded paneled doors flanked by tapering Ionic pilasters, the 
fronts carved with drapery festoons and pendants. Molded base and 


carved paw feet. 
Height, 661, inches; width, 41 inches; depth, 1914 inches. 


(Illustrated) 


443—Parr or Tuscan Watnur CHorr Straus oF THE SIXTEENTH CENTURY 
Rectangular paneled backs, one with hinged door, flanked by paneled 
pilasters with arched tops having molded cornices and plain friezes, 
curved, molded and acanthus-leaf carved arms on carved molded sup- 
ports with molded bases, wooden seats with molded edges on carved 
molded bracket supports, paneled backs and molded bases. 


Height, 63 inches; width, 36 inches. 


444—Tuscan Watnut Cuor Statu or THE FirreenrH Century 
Rectangular paneled back and frieze, with molded cornice, flat shaped 
arms, on curved, carved and paneled supports, hinged seat on shaped 
brackets and shaped molded base. 


Height of stall, 4 feet 11/, inches; width, 8 feet % inch; depth, 1 foot 114%, inches. 


No. 442—UMBRIAN WALNUT CABINET AND STAND OF THE 
EARLY SIXTEENTH CENTURY 


~ 


445—Lyonnats Wauwur ‘Caver OF THE Sismpenri | Centu 


er vedimnanted ae ey feces: fe turne 
fitted with two ee Coors with Pee carved 


brackets and bined doped rib ‘patiels < ¢ ie agit 
molded base and ball feet. Jean eae ho 


ire 


No. 445—LYONNAIS WALNUT CABINET OF THE 
SIXTEENTH CENTURY 


ae eed 


<2 aes 


ole 


446—VeENETIAN Carved, Painted anp Girt Woop Doorway or THE LATE 
SIXTEENTH CENTURY 


Molded and dentelled broken cornice, frieze painted on a mosaic ground 
in colors and gilt with scrolls, the center with a carved scrolled oval 
escutcheon. Pilasters with composite capitals, supported by carved and 
painted figures of nude Putti with drapery pendants. Inner frame of 


carved and painted leaves. 
Height, 11 feet 4 inches; width, 7 feet 7 inches. 


From the Dal Zotto Collection, Venice. 


FOURTH AFTERNOON’S SALE 


SATURDAY APRIL 24, 1920 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


447—VENETIAN Carved and Gitt Watnur LecTERN oF THE SEVENTEENTH 
CENTURY | 

Rectangular shape, with hinged book support with spindled adjustable 

bracket, pierced, carved and gilt in a pattern of an oval rosetted medal- 

lion surrounded by scrolled acanthus leaves and bead-and-reel and leaf 

borders. On voluted scrolled base with acanthus leaves at angles and 


turned ball feet. 
Height, 12 inches; width, 1414 inches. 


448—Patr or FLORENTINE WALNUT ARMCHAIRS OF THE SIXTEENTH CENTURY 


Straight square backs, with fluted and beaded finials. Straight flat 
arms on square supports, straight square legs, deep front rail pierced 
in a strapwork pattern, square cross bases with fluted ends and square 
back rails. Seats and backs upholstered in purple velvet. Finished with 
silk galloon and fringe secured with brass-headed nails. 


449—Pair or FLrorentine WALNUT ARMCHAIRS OF THE SIXTEENTH CENTURY 
Sloping square backs, with gilded acanthus-leaf carved finials. Straight 
flat molded arms on turned baluster-shaped supports, straight square 
legs and square cross bases having carved terminations. Seats and backs 
upholstered in crimson velvet. Finished with fringed braid and knotted 
fringe secured with brass-headed nails. 


Ly 


~ : ion P se 
rs 4 
So AAT Kaan am“ ss - “ 2* 
i 2a TR. on | 
aa 


Ul 


450—Patr or FLrorentTINE Watnutr ARMCHAIRS OF THE SIXTEENTH CENTURY 


Straight square backs, with gilded acanthus-leaf carved finials. Straight 
flat molded arms on turned baluster-shaped supports, straight square 
legs, cross bases with carved terminations and square back rails. Seats 
and back upholstered in orange-colored velvet. Finished with silk 
fringed braid and knotted fringe secured by brass-headed nails. 


451—Pair or FiorENTINE Watnut CHAIRS OF THE SIXTEENTH CENTURY 


Straight square backs, with acanthus-leaf-carved finial. Straight seat 
fronts, baluster turned and square legs, deep front rail carved with cir- 
cular rosette and voluted scrolls and square side rails. Seats and backs 
upholstered in old velvet. Finished with silk galloon and fringe and 
secured with brass-headed nails. 


452—FLorENTINE Watnut ARMCHAIR OF THE SIXTEENTH CENTURY 
Straight square back, with acanthus-leaf carved and voluted finials. 
Straight flat molded arms on acanthus-leaf carved supports, straight 
seat front. square legs and turned back rail. Seat and back upholstered 
in old blue velvet. Finished with silk braid, embroidered in gold thread 
and silks with a floral meander. 


453 


Ser oF Six FiorenrineE Waunur ArMCHAIRS OF THE SIXTEENTH 
CENTURY 

Sloping square backs with gilded acanthus-leaf carved finials. Straight 

flat molded arms on turned baluster-shaped supports, turned legs with 

square cross bases having carved terminations and square back rails. 

Seats and backs upholstered in crimson velvet. Finished with cut velvet 

galloon and silk fringe. 


ee OR Re OE ae ete le pp 


454—Parr or FLorRENTINE WautNut ARMCHAIRS OF THE SEVENTEENTH 
CENTURY 


Straight square backs. Straight turned arms with turned supports, 
straight seat fronts, turned legs, front and side rails and stretchers. 
Seats and backs upholstered in red velvet. Finished with velvet galloon 
and silk fringe secured with brass-headed nails. 


455—Pair oF FiroreNTINE WALNUT ARMCHAIRS OF THE SIXTEENTH CENTURY 
Straight square backs, with acanthus-leaf finials, straight arms on bal- 
uster-shaped supports, square legs and base rails with paw ends. Seats 
and backs upholstered in old velvet finished with galloon and fringe. 


456—FLoRENTINE Watnut ARMCHAIR OF THE SIXTEENTH CENTURY 


Straight square back with finials carved as heads, straight turned arms 
with lions’ head terminations, spirally turned supports, legs and rails. 
Seat and back upholstered in sixteenth century Scutari velvet cut in a 
design of a circular medallion of interlacements with floral sprigs in 
the angles. 


457—Pair oF FLORENTINE WALNUT CHAIRS OF THE SIXTEENTH CENTURY 


_ Straight square backs, straight seat fronts, turned legs, side and front 
rails and stretchers. Backs and seats upholstered in extremely unusual 
silk material woven in Italy, in blue, red and white and in a repeat pat- 
tern of warriors on horseback holding drawn swords, pavilions, Gothic 
pinnacles and foliage meanders. 


458—Srr or Fovr Fiorentine Watnor ARMCHAIRS OF THE SIXTEENTH 
CENTURY 
Straight square backs, with acanthus-leaf finials, curved voluted arms 
on baluster supports, square legs and rails and pierced deep front rail 
‘arved with rosettes. Seats and backs in old purple velvet, finished with 
gold galloon and green silk fringe. 


459—Pair or Florentine Watnur ARMCHAIRS OF THE SIXTEENTH CENTURY 
Straight square backs, with acanthus-leaf finials, curved arms on baluster 
supports, square legs and pierced deep front rails carved with rosettes. 
Seats and backs upholstered in old Italian purple velvet, finished with 
silk galloon and netted fringe. 


460—Ser or Five Firorentine Warner CuHairs.or THE SIXTEENTH CENTURY 
Straight square backs with gilded acanthus-leaf carved finials. Straight 
seat fronts, straight square legs and shaped side rails. Seats and backs 
upholstered in purple velvet. Fimished with silk fringed braid and 
knotted fringe secured by brass-headed nails. 


461—Pair or FLrorentINE WatNutT ARMCHAIRS OF THE SIXTEENTH CENTURY 
Straight square backs, with acanthus-leaf finials, straight voluted arms 
on baluster supports, square and turned legs, and deep front rail carved 
with a rosette and scrolls. Seats and backs in sky-blue velvet finished 
with gold galloon and blue silk fringe. 


QR GEG 


462—Ser or Six FrorentinE Watnutr ArRMcHAIRS OF THE SEVENTEENTH 
CENTURY 

Sloping square backs, with curved, molded and voluted arms on spirally 

turned supports, spirally turned legs, front and side rails and stretchers. 

Seat and backs upholstered in orange-colored velvet. Finished with silk 


ball fringe. 


463—Setr or Four FLorRENTINE WALNUT ARMCHAIRS OF THE SIXTEENTH 


CENTURY 
Straight square backs, with acanthus-leaf finials, straight arms on bal- 
uster supports, square and turned legs and carved deep front rails; 
seats and backs upholstered in old Italian vine velvet finished with silk 
galloon and netted fringe. 


m 


y OEE LEE AL LIC TIS IE OE CS 


464—FLorRENTINE WatnNut ARMCHAIR OF THE SIXTEENTH CENTURY 


Straight square back, with finials carved with a coat-of-arms, flat curved 
voluted arms on square supports, straight square legs, deep front rail 
carved with voluted scrolls, pointed leaves and a coat-of-arms. Seat 
and back upholstered in sixteenth century tapestry, the back woven in 
a pattern of a female seated in a pavilion, the seat with vases of flowers, 
leaves and fruits. Finished with silk fringe. 


465—Pair or FLORENTINE WALNUT ARMCHAIRS OF THE SIXTEENTH CENTURY 


Straight square backs, with acanthus-leaf carved finials. Straight seat 
fronts, straight square legs, deep front rail carved with circular rosette 
and voluted scrolls and square side rails. Seats and backs upholstered 
in purple velvet. Finished with silk galloon and fringe secured by brass- 


headed nails. 


466—Frencn Watnut ArmcHarr IN PEtTIT-POINT OF THE SIXTEENTH 


CENTURY 


Square upholstered back, curved, voluted and carved arms on carved 
supports, square and curved legs. Carved deep front rail, shaped side 
rails and stretcher and voluted feet. Back and seat upholstered in point 
needlework embroidered, on a light ground and in colors with scrolled 
serrated leaves and flowers, secured with brass-headed nails. 


467—Frencu Watnut ARMCHAIR IN PETIT-POINT OF THE SIXTEENTH CENTURY 
Square upholstered back, curved, voluted and carved arms on turned 
supports, turned legs, front and side rails and stretcher. Seat and back 
in gros and petit-point needlework embroidered on a ight ground and in 
colors with scrolled pointed leaves and flowers, secured with brass-headed 


nails. 


468—Frencu Watnut Wine BErcereE IN PETIT-POINT OF THE EARLY SEVEN- 
TEENTH CENTURY 


Straight square back, with straight wings and arms. Square and turned 
legs, turned front and side rails and stretcher. Seat back, wings and 
arms in gros and petit-point needlework embroidered, on a dark ground 
and in color, with figures, a fountain and scrolled leaves and flowers, 
secured with brass-headed nails. 


469—Frencu Watnut Wine BEerceére IN PETIT-POINT OF THE EarRLy SEVEN- 
TEENTH CENTURY 
Back with serpentine top, curved wings, straight arms, square and 
turned legs, turned front and side rails and stretcher. Seat, back, wings 
and arms in gros and petit-point needlework and embroidered, on a dark 
ground and in colors, with figures, festoons and scrolled leaves and flow- 
ers, secured with brass-headed nails. Loose seat cushion. 


470—FLorENTINE WatNnur ARMCHAIR OF THE SIXTEENTH CENTURY 
Straight square back, with acanthus finials, carved arms on square sup- 
ports, carved deep front rail and square legs. Seat and back in fine 
sixteenth century Brussels tapestry finished with silk fringe. 


471—Tvuscan Watnur ARMCHAIR OF THE SixrEENTH CENTURY 
Straight square back, with acanthus-leaf carved and voluted finials. 
Straight flat molded arms on turned baluster-shaped supports, straight 
seat front and square legs, rails and cross bases. Seat and back uphol- 
stered in sixteenth century tapestry, woven in a design of a basket of 
fruits, a mask, fruits and scrolls in yellows on a blue ground and secured 
with brass-headed nails. 


472—-Ser or Four Fresno Wee Anwerams, IN ‘Purr -POINT. 
Late SEVENTEENTH CENTURY | Z 


Shield-shaped backs, with carved frames a crestings. Curve 
with carved supports. Serpentine fronts with carved shell apron 
carved cabriole legs. Backs, seats and arms upholstered in petit 
needlework embroidered with scrolled panels and an oval -medallio 
figures on a ground of varicolored scrollings. a 


(Illustrated ) 


fronts and carved cabriole legs. Seats, acl a arms in ‘pe 
needlework, embroidered, in colors, with figures and an anit 
copie and scrolled flowers and leaves on blak rounds ie 


ele 


AYUNLINAO HLINADLNAAAS ALVT AHL AO 
LNIOd-LILAd NI SHUIVHOWUV LOANIVA HONDA unod AO LAaS—eLy 


‘ON 


474—Set oF THREE FreENcH Watnvut Cuairs IN PETIT-POINT OF THE SEVEN- 
TEENTH CENTURY 
High upholstered backs, straight seat fronts and curved legs, side rails 
and stretcher. Seats and backs in gros and petit-point needlework 
embroidered, on dark grounds and in colors, with scrolls, birds, vases of 
flowers and leaves. Finished with silk gimp. 


(Illustrated) 


475—-Frencw La Satie Sirk Brocapep Fire-scREEN OF THE EIGHTEENTH 
CENTURY 

Rectangular shape. Wooden frame, carved with bead-and-reel ornament 
and acanthus leaves, pointed acanthus-leaf finials, voluted acanthus-leaf 
cresting, rosetted, paneled and bead-and-reel carved cross bases and 
square tapering fluted feet. Panel woven in red, blue, green, yellow, 
cream-colored and brown silks in a pattern of Chinoiseries; on one side 
a man in Chinese costume and a woman holding an umbrella in a boat 
before a pavilion in which sits a woman, on the other side a man in Chinese 
costume dancing before a woman who sits under a trellised arbor. In 
front is a plant with leaves. Carving gilded. 


Height, 38 inches; width, 25 inches. 


AUNOLNAO HINADLNAADS AA HO 
INIOd-LILLAd NI SUIVHO LON TVA HONDA ACU AO LHS—PLP “ON 


476—Ser or Toree Frorentine Gitr WatNut anp NEEDLEPOINT CHAIRS 
OF THE SEVENTEENTH CENTURY 
Straight backs, molded carved legs, cross stretchers with shell at inter- 
section. In needlepoint embroidered, in silks of many colors, on a light 
ground, with scrolls, birds, grapes and flowers. 


From the Marcuard Collection, Florence. 


477—Set oF Four Frencu Warner Cuairs iy PEtIT-POINT oF THE SEVEN- 
TEENTH CENTURY 
Straight backs with shaped tops, turned legs, front and side rails and 
stretchers. Seats and backs upholstered in petit-point needlework and 
embroidered in a pattern of large flowers and scrolls, secured with brass- 
headed nails. 


478—Frencu Watnutr Wine ARMCHAIR OF THE SEVENTEENTH CENTURY 
Square upholstered back, curved wings, straight arms on baluster-shaped 
supports, turned legs, front and side rails and stretcher and ball feet. 
Seat, back, wings and arms in gros and petit-point needlework embroid- 
ered, on a dark ground and in colors, with figures, birds, scrolled leaves 
and flowers, secured with brass-headed nails. Loose seat cushion. 


479—Frencuh Watnut Wine ARMCHAIR OF THE SEVENTEENTH CENTURY 
Sloping square, upholstered back, curved wings, straight arms; with 
pull-out bars of brass, on square supports, turned legs, front and side 
rails and brass casters. Back, seat, wings and arms in gros and petit- 
point needlework embroidered, on a dark ground and in colors, with 
figures, pointed pendants, scrolled leaves and flowers, secured with brass- 
headed nails. Loose seat cushion. 


Sloping square backs, with gilded acanthus-leaf carved fini 
flat molded arms on turned baluster-shaped supports, stray 
and turned legs on square cross bases carved with paw terminatic 
square back rails. Seats and backs upholstered in sia 

tapestry, the backs woven in a design of a scrolled and gadroc 


‘Finished with 


enclosing Putti’s heads and fruit festoons. 
secured by brass-headed nails. ity 


U Uustrated ) 


Ge 
Rectangular molded frame, with arched con pa reed 
scroll and leaf cresting: molded and voluted cross bases. ] 
Flemish sixteenth century tapestry woven, in colors 
with a pillared pane? in a wood with: 2 ieee oe ne Vv 


ress 3 i 
Agi 
Fe at 
. ¥ , ai 
rae Et 4-91; uy * 
4 * 
: ee | 
wi 
i 
j + ae 
's v ake 
a | 4 
st 
ory 
ai 
: 
* 
‘ 
oe 
s 
ra) 
be * i ' 
, 
e tay 
‘ 
‘ et 
‘ my 
‘ y P 
As 
* ’ 
n 
6 Fs 
« 
~_. 
’ eA 
; sa- 4 = P. 
Pp ae 
pities 
_ bape 
. , La , 
Ao 4 2 
: i Oma of 
ay x 
a] 


Straight coholstheeee Vek Cie arms” on rte a 
legs, pies deep front rail and Ane: base 1 whist hele 


in a design of scrolled leaves, flowers and Vids 
silk fringe. 


Cs 
< Ae 
ag" + ay 
< a 
< ~ 
ve 
ay 
q * 
» ? 
wy * 
i 
a 
. a 
‘ 
a 
aa fs, 
iy 


AUNDOENHO HL Hel» S 3 | Hab ld \ LL GSP O 
N H ui 
. i 


‘eute 


eee eee ee ee, es & se Ss ek ee 


483—FrencH Wa.nutT BanaQuerre an Pevir-pornr or THE Lat? 
TEENTH CENTURY - See 


Rectangular shape with farmed legs, square melee end rail \ 
tudinal stretcher. Top asian in pete nee 


484—Frencn WaALnutr CHAISE-LONGUE IN Penr-rorsr Oo! 
CENrUES 


point needlework pubes ina pattern of scrolled 
Loose seat cushions. 5 


(Mustrated) | 


TSF 


i ta Sg 


Lea 


485—VENETIAN Cie AND Gur Woop Screen Sch “THE 
CENTURY 1s 


Rectangular shape, with molded cornice fee | by al 
ment with rectangular central tablet from which han ! 
and pointed leaves, and supported by car 
folded hands and acanthus-leaf terminat 
pedestals with bead pendants. Scrolled and 
cherub, guilloche carved stem and voluted and s 
cushion feet carved with egg-and-dart ornan ent 
occupied with panel of petit-point needlew 
in a design of shepherdess, with sheep, seated | 
flowers, leaves, fruits and a long-tailed bird. Be 
flowers and leaves aS birds. All ona black grow ( 


| Height, = 


(Illustrated) 


No. 485—VENETIAN CARVED AND GILT WOOD SCREEN OF THE 


ENTEENTH CENTURY 


SEV 


486—Srr or THREE Freer Pause Crates oF ‘THE Lave | 
Cena tes | : Pia eee Heated hea yeh 


crested with a crown, ae “end tara 
one carved with fleurs-de-lis, and turned 
fleurs-de-lis, pear-shaped feet and square 
and backs upholstered in green ee 


Note: These chairs, made. for Roy ; 
inventory of the Chateau d’Eu. The Chateau @ @Eu 
Orleans. These chairs were sold, in 1870, by, the: ¢ 
furniture to aid in raising the war indemnity to Ger 


(Ilustrated) 


98P “ON 


AUNINGAO HLINADLHDIT ALVT AHL dO SUIVH) GULNIVd HON WauHL AO Las 


487—FLoRENTINE WALNUT SAVONAROLA CHAIR OF THE FIFTEENTH CENTURY | 


Formed of six square double curved standards pivoted so as to fold, 
shaped hinged back carved with a scrolled escutcheon, curved rosetted 
arms and straight square base rails with paw ends. 


488—FLoORENTINE SAVONAROLA WALNUT CHAIR OF THE FIFTEENTH CENTURY 


Curule chair shape, formed of seven double curved square standards 
crossing and pivoted so as to close. Square curved voluted arms, shaped 
hinged back carved with a circular medallion enclosing a scrolled escutch- 
eon on a ground stamped with a diaper of floral rosettes. Front stand- 
ards stamped to correspond. Molded cross bases and carved feet. 


489—FLoRENTINE WALNUT SAVONAROLA CHarrR OF THE FIFTEENTH CENTURY 


Formed of eight square double curved standards pivoted so as to fold, 
shaped hinged back, incised with diapers of groovings and carved with 
medallion enclosing a bishop’s mitre, straight square arms ending in 
balls. Fronts incised with lines and groovings. Square base rails with 
fluted ends. 


490—-FLORENTINE SAVONAROLA WALNUT CHarR OF THE FIFTEENTH CENTURY 


Curule chair shape, formed of seven double curved square standards 
crossing and pivoted so as to close. Straight square arms, with ball 
terminations, and shaped hinged back carved with dolphins and incised 
escutcheon and stamped with a diaper of floral rosettes. Square cross 
bases. 


491—FLorENTINE WALNUT SavonaroLa Cairn OF THE FirreeEntH CENTURY 
Double curved arms and legs formed of six square standards with flat 
seat hinged so as to fold. Shaped hinged back carved with a scrolled 
escutcheon charged with a coat-of-arms. 


492—F LorentTiIneE Watnet Savonarota CHair OF THE FirrEENTH CENTURY 
Curule chair shape, formed of seven curved square standards, pivoted at 
intersection so as to close. Shaped adjustable back, straight voluted 
arms and shaped seat front, incised with bands of rosettes. Straight 
base rails. 


493—FLorENTINE Watnur Danresca ARMCHAIR OF THE FirreENTH CENTURY 
Curule chair shape, with incurved arms ending in lions’ heads, turned 
rosette at intersection and shaped base rails. Leather seat, with loose 
velvet cushion, with back upholstered in red velvet finished with silk ball 
fringe. 


From the Dal Zotto Collection, Venice. 


. 


494—FLoRENTINE Waxtnut Dantesca CHair oF THE FIFTEENTH CENTURY 
Curule chair shape, formed of four double curved legs and arms pivoted 
at the intersection so as to fold. Curved, voluted square arms and 
shaped base rails carved with paw feet. Back and seat of velvet. 


495—FLoRENTINE WALNUT Danvresca CHairn OF THE SEVENTEENTH CENTURY 
Curule-shaped, with curved voluted arms, carved rosette at intersection 
and straight shaped base rails. Front inlaid with quatrefoils of lghter- 
colored wood in “intarsia” fashion. Velvet back and leather seat finished 
with silk fringe. 


From the W. Wilkins Collection, Florence. 


(Illustrated) 


495a—FLorENTINE WALNUT SAVONAROLA CHAIR OF THE SIXTEENTH CENTURY 
Curule chair shape, formed of seven curved square standards pivoted at 
the intersection so as to close. Shaped adjustable back incised with 
circular medallion and bands of rosettes. Straight voluted arms and 
shaped seat front, incised with bands of rosettes. Straight base rails. 


496—VENETIAN WALNUT SETTEE OF THE SIXTEENTH CENTURY 
Open: back, with head rail pierced and carved with scrolls and an escutch- 
eon charged with the coat-of-arms of Pope Chigi, carved voluted arms 
on spirally twisted turned supports, deep front rail carved with scrolls 
and an escutcheon, and carved legs with voluted feet. Seat upholstered 
‘in velvet secured with brass-headed nails. 


From the Dal Zotto Collection, Venice. 


(Illustrated) 


495 


496 


497—Pair or Frencn Watnvtr SErrEEs OF THE E1GHTEENTH CEN 
Straight upholstered backs, with curved molded arms on turned 
columnar supports, bowed seat fronts flanked by rosetted 
turned, tapering, fluted legs. Backs, seats, sides and arms 
moiré silk as described in a letter from the Ministére du 
France. Loose seat cushions. ates Cae ex 


Note: These settees were in the Palais au Lee pith an in 
ferred to in a letter from the Ministére du Mobilier de France, 
1870 by the Commune to aid in raising the war pees to Ger 


(Illustrated) 


498—FLorENTINE Tapl_e oF THE LaTE SIXTEEN’ H 
Rectangular top, with molded edge, carved a 
turned baluster-shaped legs, square molded r 


Height, 2 feet 8 factor: length, 3 feet 


: a (Mlustrated) 


Wi Rai Neath 
FER IEW 72% 


ST li ci 


& { 


497 


A 
499—Tuscan Watnutr Hicu-packep Box Cua or THE Firreenru Century 
High straight back, with molded and modillioned cornice and plain 
frieze. Carved voluted and scrolled side brackets and molded and carved 
paneled back. Straight molded arms, with voluted and imbricated tops 
on voluted supports. Wooden seat hinged to form lid of box. Shaped 


front, molded base and sur-base with molded edge. 
Height, 67%, inches. 
‘ 


500—FLorenTINE Waunut CaBINnet OF THE SIXTEENTH CENTURY 


Rectangular shape. Top with molded edge, frieze fitted with drawer 
having swinging looped handle of bronze and flanked by voluted modil- 
lions. Hinged fall-down front paneled and carved with circular medal- 
lion enclosing a bust of the Virgin holding the Child Christ, surrounded 
by a band of guilloche patterning and flanked by shaped pilasters with 
fronts molded and carved with guilloche patterning. Interior fitted as 
a cabinet with eight drawers and compartment with hinged fall-down 
front, having paneled fronts and swinging looped handles of bronze. 
Molded base and paw feet. 


Height, 27 inches; width, 27 inches; depth, 13 inches. 


501—Lyonnats Goruic Oak “CHARERE” oR CATHEDRA OF THE FirreEeNTH 
CENTURY 

Rectangular shape, with carved cornice and high back carved with pan- 
els of Renaissance arabesques of baskets of fruits, birds and festoons, 
flanked by pilasters with carved shafts. Straight arms with console 
brackets at sides and linen fold panel at back of seat which is hinged to 
form lid of box. Front carved with three panels of Gothic tracery and 
vases, sides in the linen fold panels enriched by carving. 


Height, 6 feet 3 inches. 


502—Tuscan Carved anp Gitr WatNnutr PEDESTALS OF THE SIXTEENTH 
CENTURY 

Sgabello-shaped, with incurved tops carved with masks, shaped fronts 

carved with volutes, acanthus leaves, husk pendants and masks with 


paw feet. Completely gilt. 
Height, 4 feet. 


503—Pam or VENETIAN Painrep PepestaLs OF THE SEVENTEENTH CENTURY 
Square tapering shape with molded cornices and bases. Painted, on 
three sides, in colors on cream-colored grounds with arabesques of masks, 
dogs, birds, quatrefoils, piping fauns, scrolled branches of leaves and 
circular medallions enclosing classic symbolic figures. 


Height, 57%, inches; width, 15 inches. 


From the old Simonetti Collection, Rome. 


5 .. 
Peeaevaaeevaeseanae erareoias ‘3 a? La £ Ls y % 
‘ 5 * | ' t ee! Ne » 


Eo RSS, - 


‘AS : | 


61 AAG oe 
SONA Aa: 


reemeeel 
F Vee vy YY aA 
f 


504—Tuscan (AREzz0) WaLnut CABINET OF THE SIXTEENTH CENTURY 
Rectangular shaped top, with molded dentelled edge. Apron fitted 
with two drawers with carved fronts and wooden knobs divided by acan- 
thus-leaf carved brackets. Body with two hinged doors carved with 
lions’ masks separated by carved panel and flanked by caryatids with 
Putti’s heads. Molded carved base and paw feet. 


Height, 4 feet 1 inch; width, 5 feet %4 inch. 


505—EncuisH Manocany CapineET OF THE CHIPPENDALE PERIOD 


Rectangular shape in two portions. Upper portion with molded broken 
pediment flanked by two figures of white glaze porcelain, arranged as 
cupboard with hinged glazed door. Lower portion as desk arranged 
with compartments and with sliding tambour front and pull-out writing 
slab. Below are a drawer with brass knob and a cupboard with sliding 
tambour front. On square tapering legs. 


Height, 67 inches; width, 17 inches; depth, 11 inches. 


506—Frencu Inxxaip Bots-pe-rosr Desk or tHE Louis XVI PeErtop 
Rectangular shape. Upper portion, with sliding front, fitted as desk 
with pull-out writing slab and steel safe with hinged door. Body with 
bowed front fitted with two drawers, shaped apron and square cabriole 
legs. Panels of bois-de-rose enclosed by inlaid lines of satinwood and 
colored woods and borders of rosewood. 


Height, 45 inches; width, 39Y, inches; depth, 20%, inches. 


507—Frencu Ixnuamw Kixewoop ann TuLtipwoop CoMMODE OF THE EIGHT- 


EENTH CENTURY 


Rectangular shape. Serpentine bomb-shaped front with white-veined 
red marble top having a molded edge. The body is fitted with two long 
and three short drawers having fronts inlaid with shaped panels sur- 
rounded by lines of satinwood on shaped bracket feet. Mounts, of gilt 
bronze, consist of scrolled looped handles with rococo scrolled plates and 
scrolled keyhole escutcheons, and pierced scrolled acanthus-leaf feet. 
Signed by the cabinet-maker, below marble top, “monpon. M. E. (Maitre 
Ebénsite).” 


Height, 341%, inches; width, 21 inches; depth, 26 inches. 


508—Ser or Six VENETIAN CARVED, ParnreD anp Girt Woop CHairs OF THE 


EIGHTEENTH CENTURY 


High backs, with shaped side supports, gilt scrolled and acanthus-leaf 
carved crestings and vase-shaped splats painted with figures in the Wat- 
teau style. Straight shaped seat fronts, carved and gilt cabriole legs 
and spoon feet with turned side rails and stretchers. Seats upholstered 
and backs paneled with silk brocade in stripes of blue and rose-color. 
Frames painted on light green grounds with acanthus-leaf scrolls and 
panels of foliage pendants in gold. 


509—VeEneEtTIAN Carvep, Parntep AND Gitt Lit-pvu-sour oF THE EIGHTEENTH 


CENTURY 
Rectangular shape. Curved headboard, carved with Greek wave border 
and fluted pilaster side supports. Sides and foot molded, beaded and 
carved with wave ornamentation and broken at the ends with panels 
carved with laurel-leaf sprays. Angle supports ending in bronze finials 
of scrolled vase form with flame terminations. Turned tapering and 
fluted legs. Painted in green and gilt. Upholstered in red silk damask. 


Height, 351, inches; width, 3534 inches; length, 72% inches. 


510-—Frencu Paraverry Writixc Taste or THE EIGHTEENTH CENTURY 

Rectangular shape with serpentine front. Top, inlaid with blind-tooled 
dark green leather, shaped apron fitted with drawer and square cabriole 
legs having, at the knees and feet, pierced and scrolled gilt bronze mounts. 
Rising back, arranged with central open compartment having a drawer 
beneath and clock with Roman numerals above. On either side are cup- 
boards with drawers beneath and hinged doors having fronts formed of 
false book-backs of tooled leather. op of rising back and drawer front 
of light and dark wood parquetry inlaid in an imbricated patterning. 
Drawer knobs and keyhole escutcheons of gilt bronze. 


Height, 4314, inches; length, 39 inches; width, 21 inches. 


511—Venetian Painreo Taste or THE EicHrrentH CENTURY 

Rectangular shape. Top with molded gadrooned edge. Paneled apron, 
square tapering columnar legs with acanthus-leaf capitals, scrolled feet 
and curved molded cross stretchers with rectangular meeting block 
carved with acanthus-leaf, and with acanthus finial. Top painted with 
two seated female figures holding mirrors and oval escutcheons charged 
with coats-of-arms quartered with Austrian eagles and English lions and 
surmounted by royal crowns. Above are jeweled canopies and floral 
festoons. The figures are placed under round-arched pavilions supported 
by female caryatids having tapering terminations and with peacocks 
between, supported on scrolled and voluted bases. Gold background. 
Legs, aprons and stretchers painted and gilded. 


Height, 28 inches; length, 421, inches; width, 26 inches. 


Note: This table was made and painted in Venice, in the eighteenth century, to the 
order of a noble English family. 


(Illustrated ) 


No. 51I—VENETIAN PAINTED TABLE OF THE EIGHTEENTH CENTURY 


LX TEE OO RIS ORL ESSER ER ERE LES RS 


99 


512—Frencu Manocany anp Bronze “Boxueur-pu-sour” Desk oF THE 


EIGHTEENTH CENTURY 
Rectangular shape, with rising back having a pierced bronze rail and 
fitted as cupboard with two hinged glazed doors and two drawers inlaid 
with bronze. Hinged writing flap with plain edge apron fitted with two 
drawers, the fronts inlaid with bronze on turned tapering legs. 


Height, 3 feet 6 inches; width, 2 feet 9 inches; depth, 1 foot 6 inches, 


518—Tvscan (Lucca) Watnur TasLe oF THE SEVENTEENTH CENTURY 
Shaped top, with plain edge. Pedestal of four flat voluted and scrolled 
brackets with turned finials, meeting on octagonal center with turned 
finial and pendant. On cruciform base with turned finial and shaped 


and molded feet. 
Height, 821, inches; length, 36% inches; width, 201/, inches. 


14—FLoreNTINE Watnur Harrack OF THE SEVENTEENTH CENTURY 


Cr 


Rectangular shape, with molded, dentelled and egg-and-dart carved cor- 
nice. Frieze with four turned pegs separated by sunken patterns and 
voluted and scrolled apron. Voluted and scrolled side brackets. 


Height, 13 inches; length, 331/, inches. 


? - 
4 : ; 
515—Venetian Parsrep Bertha i AND Woon sae c 


EENTH CENTURY . . urge ae 
Oval basket of bese | with | tumed-over rim, the SS 


gilding. Square onetbuael tees wale th a flo: 
Height, 26 inches; length, 4 inche. . 
oon the old Simonetti Collection, Rome. Bie - 


(Illustrated) . 


Rectangular Shonen ee ieciths molded anh, egg-ane 
bordered with band of eles 2 carved in Ke , 


secured by knotted chia Frieze aoc re 
leaves and shells and fitted with drawer, gear a 
of laurel and leaves, turned baluster-shaped legs, 1 
reel carved rails and turned pear-shaped feet. 


Height, 31%, inches; length, 35 7 


AYUNLINGAOD HLINAWLHDOIA AHL AO 
AIGVUO GOOM AGNV AHOVW-UAIdVd GALNIVd NVILHUNUA—SIS ON 


517—F.orENTINE Inwaip Cousea Capiner (OF THE rae Six 
CENTURY 


Rectangular shape, inlaid with ie of ivory, ‘the top and 
form of panels, the front in an interlaced strapwork design. 
fall front. Interior fitted as a cabinet with fifteen drawers | 
compartment of small drawers with hinged door. 1 
ebony, with broken molded panels and silver swinging le 
pierced, masked and scrolled plates, two having 
brackets and cherubim. Door front, flanked by Cor 
inlaid shafts, having a round-arched niche occupied by a. 
of Justice. Exterior mounted with gilt bronze keyh 
strap latches modeled with ae wae and scrolls. 

carrying Leda 


Height, 16% iacha? width, BBY, 


Note: This coffer cabinet was in the Dilecvion of Cardinal 1 Ries 
metal work was attributed to Benvenuto Cellini. 


(Mlustrated) ge ete 


, 


tf 


AUMOINGHO HINAULXIS 
QLVI AHL AO LHNIGVO UAAAOO GIWINI UNILNAYOTA—LIG “ON 


518—MantTuan WaALnvut cpa oivan CALLED “Amarone,” 
(SIXTEENTH Soe ; } 


rosettes. Body pet ee as a cence with yen 
with trefoiled arches and enclosing figure of a yo at] 
Italian costume. Angles carved with rosettes 
Visconti of Milan and Gonzaga of Nee 
bracket feet. | ne ee 
Note: This excessively rare éabinet, of which ‘there 

Museum of Mantua, was known as an “Amatorio” in 1 

_by the bridegroom to his bride as a nuptial gift. 
on the doors of this piece. This was made under Tyrol 
close to the Tyrol. The remarkable patina is ey of 


Height, 3 toes ie ith, 5 


cs lustrated) 


AUNINAO HINAUDLXIS ATHVA 
HHL dO «<OIUOLVNY, GHTIVO ‘AUVOdHGIS LONTVM NVOA.LNVA—8IS “ON 


£ 4% Rete 


Wenuve. 


ie Wee Oe Ge ee aie aed 
pS ci ta | 


4 
EEEVECELE TOOLS 


ae a Gos S| 
eee Fee ewe Fe ew Fe 


eee ae | 
* 


ities 


RE ee Te 
PELIAVART 
mee teh are Sea toe muy : 


ee fed 


f 


- 
- 
~- 
“ 
“ 
- 
He 
lr 
ae 
- 
” 
-— 
Call 
a 
on 
Cl 
— 
“- 
-“ 
- 
-"— 
- 
vr 
- 
= 
ae 
dil 
og 
ae 
Lal 
am 


“I9 
* 


LR IN eT mc oe A a ae ’ 


istic vitae ssoserenp sive mpeerecotn ume ciicnnn i 


ie OR ee Or Ae OOS S OO HES HS 


ba aie ti tit el ln ce ta Ml Be A tt te A I 1 dma it i otro cee 


519—F Lorentine WatNur CaBINET OF THE SIXTEENTH CENTURY ‘ 
Semi-octagonal top, with molded fluted edge. Apron fitted with drawer 
with bronze knob, body arranged as a cupboard with hinged door having 
a molded rosette in center and flanked by six columnar pilasters. Molded 
base and paw feet. 


Height, 2 feet 9Y, inches; width, 3 feet 2 inches; depth, 1 foot 714, inches. 


From the Wilkins Collection, Florence. 


520—VENETIAN Intaip Watnut TasLe or THE SIXTEENTH CENTURY 

Rectangular top of ebonized walnut with plain edge, inlaid, in engraved 
ivory and mother-of-pearl, with panel enclosing figures of Flora and 
Ceres, signs of the Zodiac, baskets of fruits and foliage scrolls and sur- 
rounded by a border of oval and square medallions and vases of flowers 
and leaves. Supported by two spirally turned legs, inlaid with branches 
of flowers, on an oval stand inlaid with vases of floral and foliage scroll- 
ings and incurved bands. Six turned ball feet. 


Height, 301, inches; length, 23 inches; width, 1114 inches. 


a? 


af &F Qf 


x 
Co 

* 
> 4 
~ 
< 
& 


521—-Frency Oak Capinet oF THE Lyonnais SCHOOL OF THE SIXTEENTH 


CENTURY 
Rectangular top, with broken angles and molded edge. Body arranged 
as cupboard with three caryatid capitals and two hinged doors carved 


with terminal figures and scrolls, molded base and square pear-shaped 


feet. 
Height, 2 feet 101%, inches; width, 3 feet 2% inches; depth, 1 foot 8% inches. 


522_Tuscaxn Waunut CApiner AND STAND OF THE SIXTEENTH CENTURY 


Rectangular shape. Cabinet with molded cornice and hinged fall-down 
front with raised molded panel front, and fitted with two locks. The 
interior arranged with open compartments and two drawers with paneled 
fronts and wooden knobs. The stand with molded cornice, frieze paneled 
with false drawer fronts with wooden knobs and shaped apron. On 
turned tapering legs. The center section pulls out to form supports to 


fall front. 
Height, 521, inches; width, 51 inches; depth, 19% inches. 


523 


TP aw eS oe ia Titan Be 


FS 
¥-F3= 


Brescran Watnur CasineT OF THE SIXTEENTH CENTURY 
Rectangular shaped top, with molded fluted edge. Frieze fitted with 
drawer with bust-carved handles. Body with hinged door with flat 
carved front and flanked by two flat carved panels. Sides and drawer 
front carved in a plaited strapwork design. Molded carved base and 
rectangular cushion feet. 


Height, 3 feet 114%, inches; width, 3 feet 8, inches; depth, 1 foot 10 inches. 


524—FLoRENTINE WALNUT AND Iron TABLE OF THE SIXTEENTH CENTURY 


Circular shape. Top of walnut with molded edge. Tripod stand 
formed of three curved iron bars with strap-iron voluted stretchers meet- 
ing in the center. 


Height, 2 feet 5 inches; length, 6 feet 5 inches; width, 3 feet 4 inches. 


525—Tuscan Watnutr OcraconaL TABLE OF THE SIXTEENTH CENTURY 


Octagonal top, with molded and dentelled edge on spirally turned stem, 
triangular molded base and carved paw feet. 


Height, 271, inches; diameter, 181/, inches. 


526—Tuscan Watnxet Cuor STaLyt oF THE SIXTEENTH CENTURY 
Rectangular shape. Shaped and carved head rail with carved and pan- 
eled back, voluted bracketed arms, dentelled seat front paneled be- 
low with shaped side brackets. At the sides, above, are carved panels 


and consoles, and below, pedestals with paneled and carved fronts. 
Broken molded base. 


Height, 3 feet 8% inches; width, 3 feet 8% inches; depth, 2 feet 9 inches. 


527—FLorENTINE Waunvr Prie-Diev Cua OF THE FIFTEENTH CENTURY 


Round-arched back, with leather-cornered head rail, curved molded arms, 
sides of crossed molded standards pivoted so as to fold, bracketed seat 
and rectangular kneeling rail. Seat and back in old leather. 


From the Dal Zotto Collection, Venice. 


528—VeENETIAN Watnut Lecrern oF THE SIXTEENTH CENTURY 
Sloping book rest with scrolled and voluted cresting, carved with inter- 
laced band forming three circular medallions. Cylindrical standard 
carved with flutings, astragals, gadroons and acanthus leaves. Incurved 


triangular molded pedestal and ball feet. 
Height, 5 feet 11% inches. 


529—Nortu Irauan Goruic Watnut LeEcTrerN oF THE FouRTEENTH 
CENTURY 


Sloping desk with center pierced and carved with a circular medallion of 
Gothic tracery and shield-shaped escutcheon flanked by linen-fold pan- 
els. Columnar standard, with octagonal shaft carved with spiral flut- 
ings and hexagonal base formed of six arched molded legs carved with 
scrolls and leaves and pointed feet. 

Height, 67 inches. 


Note: This is an unusual example of North Italian Gothic workmanship. The 
carving is exceptional and the whole object is distinguished by its delightful patina. 


580—FLorENTINE TurNED Watnvut Coar Sranp or tHE Late SixTEENTH 
CENTURY 

Turned baluster-shaped and cylindrical molded standard with turned 

vase-shaped finial and reeded circular base. At top four turned C-shaped 


projecting arms. 
Height, 93 inches. 


Note: So far as known, this is ¢he only example of a standing hatrack made during 
the second half of the sixteenth century. 


531—Norrtu Irariran WaLnut CANDLESTICK OF THE SIXTEENTH CENTURY 


Baluster and vase-shaped standard, carved with flutings, gadroonings, 
guilloches and acanthus leaves and with three scrolled, voluted and 
acanthus-leaf carved brackets. Cylindrical candle-socket and tripod 
stand of three curved legs carved with eagles’ heads, legs and claw feet. 


Height, 661, inches. 


532—Tuscan CircuLar Danresca Vance. 0 OF re 7 
Circular top, with two Bee se and eda re 


bases carved with paw terminations. 


Ps 


Sher H 


Note: This Dantesea table is so aicakt in form 
belief that it is the only one in existences-© 5 A 


(Illust rated) 


¢) 


AUNLNAD HLINAA LATA 


AHL AO WIAVL VOSHINVO UVINOUID NvOSh.— ‘ON 


Y ge 


Lz 


” 


z: 
Me 
Fes 


5383—UnmpBrian Watneutr Capiner oF THE SIxTeEENTH CENTURY 
Rectangular top with molded edge, apron fitted with three drawers with 
carved fronts and wooden knobs. Body with two hinged doors with 
paneled fronts carved with voluted scrolls and rosettes and flanked by 
caryatids and carved pilasters. Sides carved with voluted scrolls and 
rosettes. Molded base and shaped bracket feet. Remarkably fine patina. 


Height, 3 feet 101, inches; width, 5 feet; depth, 1 foot 8 inches. 


534—Tuscan Watnetr Taste or THE SixteEENtH CENTURY 


Octagonal top, with plain edge. Square tapering pedestal with incurved 
capital and sides broken with tapering fluted pilasters. Molded base 
and square molded feet. 

Height, 31 inches; diameter, 461, inches. 


535—Umeprian Watnut Cuorr STALLS OF THE Earty FirreENtH CENTURY 


Rectangular shape, with bracketed arms and legs carved with volutes 
and acanthus leaves, paneled backs, molded shaped head-rails, hinged 
seats and rectangular molded sub-base. 


Height, 3 feet 7%, inches; width, 4 feet 4‘, inches, 


536—Tvscan Watnut Foipinc Bep or THE SIXTEENTH CENTURY 
Rectangular-shaped top with molded edge, plain apron and hinged fall- 
down front forming bed. Molded plain plinth. 
Height, 3 feet 3 inches; width, 3 feet 10 inches; depth, 2 feet 2 inches. 


Note: This bed was used by the captain of the military guard of a great Palace. 


537—Brescian Watnur Capiner or THE SIXTEENTH CENTURY 
Rectangular top, with molded and fluted edge. Apron fitted with five 
drawers with carved, scrolled and voluted fronts, wooden knobs and six 
carved brackets. Body arranged as a cupboard with three vertical panels 


carved with voluted scrollings and two hinged doors with wooden knobs. 
Molded and carved base and voluted bracket feet. 


Height, 3 feet 7 inches; width, 5 feet 3 inches. 


5388—FLorENTINE PaintED CABINET OF THE SIXTEENTH CENTURY 


Top with bowed front, incurved sides and molded edge. Body arranged 
as cupboard with two hinged doors, molded base and pear-shaped feet. 
Entirely painted, in colors on a light ground, with grotesqueries having 
as centers paneled niches with classic figures supported by masks and 
surrounded by birds, scrolls and half figures. Above, on apron, are 
egg-shaped escutcheons charged with coats-of-arms of the Medici family 
and of the City of Florence. The whole decorated under a Raphaelesque 
influence and suggested by the “Loggie” of the Vatican. 


Height, 2 feet 9 inches; width, 3 feet 4 inches. 


wy 


— » 


al 


My 


WA Us Ara RAC RN 


539—FLorENTINE Waunut CaBINET OF THE SIXTEENTH CENTURY 


Rectangular-shaped top with molded edge, apron with drawer with carved 
front and knob, and body with hinged door carved with rosettes and 
flanked by caryatid pilasters. Sides carved with rosettes, gadrooned 


base and paw feet. Bronze-like patina. 


Height, 3 feet 6 inches; width, 2 feet 11 inches; depth, 1 foot 10 inches. 


540—Frencu Gornic Oax Cuorr Status oF THE FouRTEENTH CENTURY 


Rectangular shape, molded and shaped head rail, with ends and central 
division curved, molded and carved with grotesque animals. Two hinged 
seats, with brackets beneath carved, one with a Flagellation, one with 
an Entombment. Above are panels carved with Gothic pointed arches 
and tracery, and below are linen-fold panels, the centers enriched, molded 


base and ball feet. 
Height, 3 feet 9 inches; width, 4 feet 9 inches. 


541-Vanuriy Powe Clsieen Pawrnocwe Bassaxo (aac 
Late SixrEENTH CENTURY 


Ebony cabinet with domed ie with hinged lid, Paint 1 


Battle sae aoe and a Asbtsceee A man on horseback u 
Interior fitted with nine drawers and central co 
door flanked by columnar pilasters. ‘Drawers 
embroidered on silk with colored silks in designs of 

and a tree. Stand of. vy date with fuga ta 
cross stretchers. te 


(Illustrated ) 


wigiiauicmancumeuanl 


h 
if 
¥ 


No. 541—VENETIAN EBONY CABINET PAINTED BY BASSANO (JACOPO DA 
PONTE). LATE SIXTEENTH CENTURY 


by carved, voluted ae Bae ae: 
and carved pilasters. Arranged as a cupb 
each with two beaded and carved pees 


feet. ples 
Height 4 feet 5 inches: widtl 


Note: This beautifully proportioned salt 
came from the Marquis Montagliari’s Cole 


af I Hustrated) 


en ae 


PSTIELL TV EL Pe rer reeves er ese sss 


ac) 
Le Oe Oe 


i 


i 
wii witwi4 


ail bs 


a 


pa) nm | ah | |) a) | | ee | 1 


wis) 


ie Ne NIE H at TE VIE NE TICE Ge ee Vie YI 
ever gre fates BaSSSSS SITIOS 


Live 


eo 


ay 17 STR aT A AP 


& fhe FG he £6 kG GS SS bw dS LBL Iw AB RA RARARLD Be VB 


- ? 


eR. eke e cakes de be Me the de IE jas) Se ke. SE ER foe tole 
LTS ecto " RS . : —_ Socks heb ee hrakeee sees © ho-a 


a) ae] aie al aT al alla al] PATIO RS | 


RNTURY 


TEENTH C 


HE SIX 


CABINET OF T 


LA hl 


U 


= 


542—FLORENTINE WAL) 


No. 


543—Durcn Wainvr Caninet oF THE Lae Brean 
In two portions. Upper portion with molded gadroon 
head brackets and imbricated frieze arranged as a 
caryatid pilasters resting on goats’ head bracke’ 
doors with cruciform paneled fronts. Lower portion, 
carved with rosettes, voluted strapwork and flutin 
applied spindles, arranged as a cupboard w 
double cruciform paneled APOME SS Carved plin ] 


RS ad “Height, 6 feat 8 inches; 


f fie See (Mlustented) 


* oa 
bs 
) : . a j : 
’ a) +, 4 
ns . S43 
. = 'd geal oF 
* x 
: % 
¥ ¢ af 
eee 
Des 
ieee 
Me 4h 
4 a 
= 
‘2 
- a ee 
i 
‘ f “ ’ 
j 
‘ 
‘ 
. 
kt 
, 
+ 
ae, 
' 
4 
a ai 
oe Y hd. 


f 
i 
i 


£ | 
‘ 


GS. 


TE 


A 


OF THE L 


TCH WALNUT CABINET 


548—DU 


No. 


NTURY 


ENTH CE 


SIXTE 


“4 


EENTH Corns Se 


interior fitted 2 as en nee feats apelin wit h 
pe nee plinth and pear-shaped feet. 


* Ya 

4 inches: Se ae 2 jets 8 ine 

‘ ona i ¥y 

woes This desk is signed twice ae the ‘marble 

stamped with its number | “F. 2640,” in the Chateau 
sold in 1870, ag the Commune, to belp actrar Le a 


“Height, 4 a 


” 
i * 
© 


4 


NCH “ACAJOU” WOOD AND BRASS FALL-FRONT DESI 


544—FRE 


No. 


OF THE EIGHTEENTH CENTURY 


a 
4 
’ 
“ 
! 
< o 
a 
‘ 
» 
; 
D 

oot 
‘_ et y * 
| 
te 

=¢ 

oo . 
; Raed 
¥ ah 
{ + & 


§45—Tuscan pees Canmver OF 


Apron feed with two saat dee a 
hinged doors having wooucs knobs. Gui 


- 
: 
7 %, 
. ‘ 
: nt 
Die ; 
* 
s a i 
é ooh Te tl 
2 - 
at : es 
?. : 
he ~ 19 ; 
; F : : 
- ‘ x" : 
; d 
low 
* ‘> 
=u 
+ | é 
3 
. 
all 


9 


Fg 


THE » SINTEENT iG 


PE PSS FER Oe oS Pha 
er aS 


15% DIN DIN DIAN IIS DIN® DINE DIA IANS TAS INN Da Gg 
Oe te 8 HE eee oy as Ly ST cea se Wer uve : 


2 


derail 


eae Poe Pf Wis DEE IATA PP aay Pai Pak, 


wee nee VR SU A Oe baa 


Le YYIb IE NLE IE IEDTOS. 


Oy earns 
OR DEE DAE AEN St 


te al 


x OVW 
ed E 


aii. 


fo a 
eae 


. 
rere 
ee el, 


aed ee p7F ve yeyer YYAVe De yp 


Lage kas Rae eememaetees 


No. 5445—TUSCAN WALNUT CABINET OF THE SIXTEENTH CENTURY 


In two portions. Uippek SoA mith: ae 
are tise as a Baie i sey two pices paar: 


a baer ern ih back nacre with two. 
and four fluted pilasters. Fluted DU cary 


feet. Poa gh ed 
Beer: 4 feet 9 inches; width, 8 feet 5 faeokane 


(Tustvateay i 


ee 
ae th th i 


bili! 18 


"aaa 1” 


No. 546-—LYONNAIS WALNUT CABINET OF THE SIXTEENTH CENTURY 


ws E * r 
A of. 
‘ . 
\ 
4 
. 
‘ft 
t t 
* + . * 
ati | ‘ és? ‘ “ae a) op 
aa 
i  % 4 Ae 5 ne 
¢ am 7) 7 , 
, a ‘ 
. , ft ; 
p 1 ad ” L 
¥ = ms i 
i = I iL ioe 
' i ag a 
a e. 
‘ z 
% o B: ‘ 
. > Ay 
‘ 
‘ A 
< rs 
\ \ ‘ . 
A A pad: iy 
‘ o. 
thy 1 
a a j 
, 
‘ 


oj eee 


547—Tscan Watt UT Wreee eee OF THE p Sixmmentie Ces 
Rectangular cabinet with molded | cornice, pla 
ters and two hinged doors. Stand with two tier 
and two below, supported by scrolled ois 
scrolled and voluted legs, with eure 
rods. 


No. 547—TUSCAN WALNUT WRITING DESK OF THE 
SIXTEENTH CENTURY 


* 


BAS@ sae Exsony Roark Booxcase OF THE eee XIV Deu 


Rectangular-shaped top, with molded gilt bronze edge. Body 
as a cupboard with hinged door paneled with open honeycomb dis 
gilt bronze and surrounded by scrolled Boule-work borders inlai 
on ebony, sides with panels of arabesques i m Boule-work, 
and bracket feet inlaid in bree 


Marigny, of Paris, by M. Merlin, “formerly with ‘Monsieur? the 


” ae 


(ilasteateny 0 ™ ie oes 


THE 


KCASE OF 


548—FRENCH EBONY BOULE BOO 
LOUIS 


O. 


N 


PERIOD 


IV 


x 


en nn — 
er a ae kL AA gre 


sp atuccrtse nh: ayaa ee 
yiervyrweer vyere Ere On ch he dt hh elle wre : sneer tc etree 


549—Tuscan Invaip Watnur CapineT OF THE SIXTEENTH CENTURY 

Rectangular-shaped top, with chamfered angles and molded dentelled 
edge. Apron fitted with four drawers with wooden knobs separated by 
die inlaid with a diamond with checkered border in light-colored and 
black woods. Body arranged as a cupboard with two hinged doors, the 
fronts inlaid with diamonds with barbers’ pole patterned borders and 
flanked by vertical panels carved with twisted ribbons surmounted by 
inlaid diamonds. Angles paneled. Molded base. 


Height, 4 feet 9 inches; length, 5 feet 7 inches; width, 1 foot 11 inches. 


550—Tvuscan Waunut SipEBOARD OF THE SIXTEENTH CENTURY 
Rectangular shaped top with molded edge surmounted by rectangular 
plate rest with molded base and paw feet. Body with hinged paneled 
doors flanked by vertical panels. Carved, above, with Putti’s heads and 
stars. Molded base. 

Height, 3 feet 10 inches; width, 6 feet; depth, 2 feet 8 inches, 


\ 


= 


551—Tuscan Watnur Canine oF THE ‘Sees Cexruny — 


Rectangular-shaped top with molded and fluted edge, 
four drawers with bronze ane cet ee ae 7 


piece of furniture in ‘existence iieh eae the arms of 
Evidently it was made for one of his descendants, — re 


. (Tsstrated) 


AUNLNYO HINAALXIS DHL dO LANIGVO LON IVM NVOSILI—TS9 ON 


552—-V ENETIAN CARVED AND_ Grows Watyoer Cassone or 


CenrurY BY JAcoro, Sansovino, qe eat: 


mirrors. These panels are pees i by 
and are flanked hy carved eace Hs 


(69GI-LLFI) ONIAOSNVS OdOOVE AM AUODLNAO 
HINWALXIS AHL TO ANOSSVO LANIVM GHATIO GNV GHAUVO NVILANHA—2g¢ ‘ON 


Pear 
ie 


Rectangular hinged lid with chamfered edge and braces. C 
and cross braces, with ends carved as lions. Painted in colc 
octagonal medallions of figure subjects and with circular 
with shields charged with coat-of-arms of the Sienese family y fe 
whose members the cassone was made, and studded with bron 


From the Dal Zotto Collection, Venice. 
(Illustrated) 


Hectausularuiapel heel lid with ake edge, ¢ 
bracket feet and Prue a popes carrying hanes 


panels of eseutcheons ehureee with cbalusa teaver si 


Putti. 
Height, 2 feet ly, eee length, 4 feet 7 inches ; 


From the Dal Zotto Collection, Venice. 
(Illustrated) 


Pgg 


the halbed head of a Saint. i eat base and renee f 
From the Dal Zotto Collection, Venice. ; 


398 to 


BhGe Sree PaIntTED eee UT Cassone OF THE Barn ’ 
ee pointed eae lid, molded base fea! 


ing with ease swords, and on ie “Toft. the f 
with another bending over Imei od pane 


of 


Height, 2 feet 1% inches; Pane + feet 7 inche 
| (Illustrated) 


AYNALINAD HUINAA LAT : 
MIVVA AHL AO ANOSSVO LON IVM GUALNIVd ASHANAIS—9ESS “ON 


557—FLORENTINE CAssONE OF THE SIXTEENTH CENTURY 


Rectangular shape. Domed molded and scroll-carved hinged lid, with 
edge carved with imbrications. Front divided into three panels sur- 
rounded by raised and carved moldings, the center one occupied by 
carving of oval scrolled escutcheon supported by Putti and flanked by 
festoons of fruit and leaves, masks and scrolled ribbons, the side ones 
by female sphinx heads with voluted and scrolled terminations. At 
either side are caryatid pilasters with satyrs’ heads, square tapering 
shafts with fruit festoons and acanthus-leaf carved feet. Ends with 
molded panels enclosing oval scrolled medallions. Gadrooned base and 
acanthus-leaf carved paw feet. 


Height, 35% inches; length, 6214, inches; width, 22 inches. 


558—FLoreEnTINE Watnut Cassone DestcNep spy Micuet ANGELO. Srx- 
TEENTH CENTURY 


Rectangular domed and molded hinged lid with edge carved with leaves, 
frieze carved with diapery festoons, rosettes and masks. Carved body 
with female caryatids, female torsi at the front angles, scrolled acanthus 
leaves at the rear angles and the front divided into three panels by fe- 
male caryatids corresponding to those at the angles. In the center 
panel is carved a scrolled oval escutcheon surmounted by an angel; 
in the left-hand panel is the figure of a youth attacking a winged gryphon 
with bow and arrow; in that on the right a bearded man reclining with 
standing figures around him. Scrolled and voluted apron and paw 


feet. 
Height, 3 feet 10% inches; length, 5 feet 1 inch; width, 1 foot 11% inches. 


Note: This cassone is confidently said to have been designed after the cartoons of 
Michelangelo Buonarrotti. 


(Illustrated) 


AYUNINGHO HINAWLXIS 
OTHONV THHOIN AM GANDISHG ANOSSVO LOANIVM ANLLNAUOTA—8S9 ON 


559—FLoRENTINE Ivory anp Exsonizep Castnet or THE Late SIXTEENTH 
CENTURY 

Rectangular shape, in two portions. Upper portion divided vertically 
into three sections. The center has a round arch with molded cornice, 
frieze paneled with ivory, carved and pierced in a design of scrollings, 
and a cresting of ivory carved as a scrolled escutcheon charged with a 
coat-of-arms and supported by dragons. It is arranged as a cupboard 
with six drawers having paneled fronts and ivory knobs. Hinged door 
with round top and raised molded panel enclosing the figure of a nymph 
under a canopy with eagle finial and festoons of drapery and musical 
trophies. On either side are cupboards with hinged doors having octag- 
onal sunken molded panels enclosing carved ivory figures of flying Amo- 
rini bearing flowers. These doors are surrounded by panels of ivory 
pierced and carved with arabesques of scrolls, tablets and figures. Above 
are escutcheons supported by sphinxes and circular portrait medallions 
and below are three drawers, with fronts paneled with pierced and carved 
ivory. Lower portion, with apron fitted with a drawer with paneled 
front, having in the center animals with scrolled terminations, and, at 
the sides, heads with voluted scrolls and festooned masks, arranged as a 
cupboard with two hinged doors having broken paneled fronts and cir- 
cular medallions enclosing groups of youthful Bacchantes. At the sides 
are panels of ivory, pierced and carved in arabesque patterns. Molded 

base and block feet. 
Height, 83 inches; width, 46 inches; depth, 191% inches. 


(Illustrated) 


No. 559—FLORENTINE IVORY AND EBONIZED CABINET OF THE 
LATE SIXTEENTH CENTURY : 


560—Licurtan Watnut Goren oF hee SixreentH Tas 
Tn two portions. Urge paaney with meet broken ¢ 


i 


ae 
*. 


relief, ith verolle ane oval medallions and hl : 
lower E Perea is Liens to oS ue 


E SIXTEENTH CENTURY 


ET OF TH 


WALNUT CABIN 


No. 560—LIGURIAN 


+ ry 
* 
, 
* 
jo* 
F i “ 
. Oe hak 
+ 
E . 
’ 
5 
} ® 
se 
+ 
na 
+e 
4 4 ‘Ss 
A ee 
* t = 
: BC Red Gh ten 
se high ed 
F ‘ na a be 
=) inet 


5G1-—- Fence | Wanker Caner BY eee Govson. 


In two portions. Upper portion with pierced ¢ c 
pediment niche nee a faa i ULE 


i 
$3 


iAN GOUJO! 


J 


DT IBY 
URY 


NE 


CABI 


No. 561—FRENCH WALNUT 


NOT 


SIXTEENTH CE 


Rec eee top, with ee ode BAS ‘ 
into two uP erriee each with two. stated soon ‘ 


primitive school OF the fifteenth ue che 
fold panels: Wrought-iron bolts. — Square legs. 


Height, 5 feet 91% inches; width, 8 feet By nch 
; Note: A example came from a demolished ehureh iat 


(1. Be Laie i 


ET OF THE EARLY 
UKM 


K CABIN 


HIC OA 


N GOT 
F 


No. 562—AVIGNO 


“fig hy 
1 


TH CE 


Ty 
N 


IFTEER 


Ps ¢ 
3 . 
) 
’ ‘ 
’ ; 
f 
t 
» 
he oa 
Se 
- 


Height, 5 feet 91%, tocliey, width, 3 Diet 
(Mustrated) 


No. 563—LIGURIAN WALNUT CABINET OF THE SIXTEENTH CENTURY 


564—Tvuscan Watnut CurpBoaRD OF THE SIXTEENTH CENTURY 


Rectangular shape. Molded and dentelled cornice, carved with egg-and- 
dart and acanthus-leaf ornamentations, bowed frieze carved with masks 
and floral meander. Body arranged as a cupboard with two shelves and 
two hinged doors, the fronts having double panels surrounded by bead- 
and-reel and leaf-carved moldings, the angles carved with voluted acan- 
thus leaves, flanked by Ionic pilasters with carved and molded paneled 
shafts and molded bases. Plinth fitted with three drawers, with carved 
and molded paneled fronts, separated by voluted brackets. Carved and 
molded base and carved paw feet. 


Height, 6 feet 2 inches; width, 4 feet 6 inches; depth, 1 foot 10 inches. 
(Illustrated) 


565—Tuscan Wautnut CaBINET OF THE SIXTEENTH CENTURY 


Rectangular shape, in two portions. Upper portion with cresting carved 
and pierced in a design of a knight on horseback surrounded by voluted 
acanthus-leaf scrolls, molded cornice, and plain frieze, arranged as a 
cabinet with fifteen drawers, having paneled fronts and a central com- 
partment: with hinged door. This cupboard is enclosed by two hinged 
doors having fronts with double panels surrounded by raised moldings 
and enclosing broken angled inner panels, and with sides carved with 
standing Putti on molded brackets with festooned drapery and fruit 
terminations. Lower portion arranged as cupboard with two hinged 
doors having paneled fronts matching those above and sides carved with 
acanthus-leaf quatrefoils, drapery, festoons and fruits. 


Height, 95 inches; width, 50 inches; depth, 20 inches. 


~ : 


( ME Ry Aa feds Diao aE de oy, 


ea yee ? 
AAA RTCA ETCH PO TOR 


Renin Boron Greene Cranenere crimes Mirai etn Miners Rane ne nine Beatin, We wane: “n = “ . * . . . 


© ome wa eee 
ae Rm cy Bench Crime Sates oo 


ey tem a 


> Ki 
\Zhap Sint aan Ss | Gee Sa “si ", ws 
= eYss te fete : 
bere 


RENE, 


BEPC CELT Lat 


2 | 


RY 


y 


L 


CENT 


THE SIXTEENTH 


F 


No. 564—TUSCAN WALNUT CUPBOARD O 


Carving heightened by gilding. Interior 


silk BEE pra os ; eae 


~ 


Note: This extremely 1 rare and unusual eee ca! 
lection, Rome. eA EP et 


ie (Iustrated) Bs 


. 
<i 


Sa MEN Soe ES Shel We a as | 


NE WALNUT BOOKCASE OF THE SIXTEENTH CENTURY 


No. 566—FLORENTI 


Rectangular Oe in two SNe nae portion open 
arched tops, molded cornices and paneled pilaster fitted Ww 
shelves with molded fronts. Lower portion arranged as cupbo } 
hinged molded paneled doors, flanked by paneled pilaste 
block feet. | Bronze hinges and pee oun mais 


Rectan ee Molded sod dentelled oe 
lyphs, separated by turned rosettes and baer ; 


seats with flat shaped arms papbees hy Drapes foe q | 
columns on stepped bases and below oan shaped 
pede base. ashy ae. 5 oe ee eas 


(Illustrated a) 


No. 568—ITALIAN INLAID WALNUT PANCA OF THE SIXTEENTH CENTURY 


569—Tuscan Goruic Wiraun Crom Sranis_ or m Earn 
CENTURY ir 


Rectangular shape, incurved bade igid arms with 
eled backs, hinged seats and square columnar legs. 


Height, 8 feet 3 inches; length, 9 feet 9 | 


(Illustrated) 


570—Tuscan ‘Goreme WaLnur Crom St 1 
CENTURY 


Similar to the preceding. 


570a—Tvuscan Goruic Warxen "Crom Seants 
CENTURY ee Beets ke. 


Similar to the preceding 


AUNLINGO HINADLAL ATUVA AHL AO STIVIS WIOHO LAN IVM OJIHLOD NVOSO.L—69S ‘ON 


‘Seameae 4 — os 
. me ya t 0 e =| 


Open me on cant vase ake bal ean ee an 
galled and carved with acanthus leaves: on : 
divided by paneled pilasters carved with guillo 
by pilasters: carved with-coats-of-arms, and 
minating in volutes. Straight seat fronts with mo 
on four scrolled and voluted be sens parsed ; 
Molded bases. Tao ts 
(Mlstrted) 


oa 


AUNLNAO HINAWDLXIS AHL JO SHHONAD LANIVM ANILNAYOTA AO UlVd—TLE “ON 


handles. kGuered i galas plinth fend maolaad ba 
state of Buea ans with a a eae Beieien 


a lustrated on 


J 
4 


1 


AUNLNGO HINDALXIS AHL JO GUVOUACIS LAN IVA ANLLNAUO'TA—6Ls “ON 


SEM oe sg rw pore 


= Wish FEA At Wd) 


mencainttamtincane tee a Tae 


ayia ; neces atin es er 


meee? ee Tie) de) hel i ie fe ek cs eR ee ee | | 3 Ae /a8 ER § 


plain shafts Wooden seat sete hs tee a 
portions correspond, except that the frieze i is een 
carved with masks and husk festoons. i 


From the old Simonetti Golledtda: ome 3 oe : 
(Illustrated) | 


’ 


AUOLNAO HINGTALXIS AHL AO STIVIS YUIOHO LAONIVM ANILNAYOTA—ELS ON 


» 


2 
SORE 


¥ 


Herter aa Renner 


574—FLorentTiInE Watnut Fovur-posr Brep or THE SIxTEENTH C 
Shaped headboard carved with oval escutcheon charged with ¢ 
arms and flanked by voluted imbricated scrolls, molded and cai 
and voluted side brackets. Turned posts with turned vase-s! 
Acanthus-leaf carved sides and end, with se bolton 
tangular molded and carved feet. 


ae 5 feet 5 asad ; 
(Illustrated) ; 


Cylindrical posts with spirally fluted and m 
shells, capitals carved with voluted masks and f 
fruits and leaves. Pear-shaped legs, carved with 
headboard with cresting pierced and carved ine 
escutcheon flanked by birds, 3 of fruits 


Height, 71% * inches; + eth, 8 he 


No. 574A—FLORENTINE WALNUT FOUR-POST BED OF THE SIXTEENTH CENTURY 


5 


7 


6—Porra Sanra Marsie Mantet anv Carvep anv Gitr Woop OvER-MAN- 


TEL OF THE EIGHTEENTH CENTURY 
Molded mantel of red, white and black veined Sicilian marble, with 
square scrolled side brackets of carved and gilt wood. Over-mantel in 
two portions. Lower portion formed as a mirror in three divisions of 
original glass, flanked by paneled pilasters carved with heads of Putti 
and floral pendants and having above a molded and carved cornice with 
arched center surmounted by a female head and scrolled acanthus leaves. 
Upper portion formed of an oval molded and carved frame enclosing a 
portrait, painted by an artist of the French school of the eighteenth 
century, of Vittorio Amadeo II of Savoy, shown as a young man, in 
three-quarter view, in a complete suit of armor, with fair hair and lace 
and cambric Steenkirk, holding a marshal’s baton in his right hand. 
The frame is supported by voluted scrolls and Amorini and surmounted 
by a heart-shaped scroll of acanthus leaves enclosing the monogrant 
“VA.” and hung with pendants of flowers and acanthus leaves. Above 
all is the royal Savoy crown. 
Height, 13 feet 1 inch; widih, 7 feet 7 inches. 
From the old Simonetti Collection, Rome. 


Note: This mantel formerly formed a portion of the interior fittings of the King’s 
palace and was purchased many years ago at the sale of the collection of the Due 
d@’Aosta in Turin. 


(Illustrated) 


No, 5146—PORTA SANTA MARBLE MANTEL AND CARVED 
AND GILT WOOD OVER-MANTEL OF THE EIGHTEENTH CENTURY 


~ 
( 


7—VENETIAN Room Frieze Paintep By MArceLLo FrIGoLINO. SIXTEENTH 
CENTURY 


5 


Rectangular shape. Painted, in colors, on a light ground, with ara- 
besques of grotesche, including seated Amorini, animals with women’s 
breasts and faces, winged sea monsters, birds, festoons, winged hour- 
glasses on standards and circular medallions supported by Amorini and 
enclosing escutcheons charged with coats-of-arms. 


Height, 3 feet 2 inches; length, 91 feet 4 inches. 
From the Dal Zotto Collection, Venice. 


(Illustrated) 


578—Tuscan Watnvut Door ARCHITRAVE OF THE LATE SIXTEENTH CENTURY 


Round-arched pediment, with molded and modillioned broken cornice, 
paneled tympanum, columnar pilasters with voluted composite capitals, 
spirally twisted shafts, paneled pedestals and voluted console side 


brackets. 
Height, 8 feet 714, inches; width, 5 feet 8 inches. 


From the Dal Zotto Collection, Venice. 


579—VENETIAN Carvepb, PainrED anp Gitt WoopEN Door oF THE SIXTEENTH 
CENTURY 
Rectangular door, diapered in a diamond pattern with applied raised 
gilt moldings, enclosing gilded raised quatrefoil rosettes of acanthus 
leaves, the alternate diamonds painted, on a green ground, with vari- 
colored groups of roses. Architrave of gilt wood carved in a pattern 
of Putti and husk pendants. Wrought-iron swinging looped handle. 


Height of door, 77 inches; width of door, 3814 inches. 


From the old Simonetti Collection, Rome. 


AYUOINGDO HLINAGLXIS ‘ONIIODIYA OTTHOUVW Ad GHLINIVd AZHIdA WOOU NVILANHA—LLE “ON 


Pe a a 


2 SE REI Be I 


580—Tuscan Patxtep Woop Door Anomrrrave OF THE Fanny § 


581—Venetian Watnut Door ArcuirravE OF THE SIX1 


Sel, 


CENTURY 


eee Pltoce of fruit, shell ae ceria Shboael va 
pilasters with capitals painted with cornucopia and shafts 
candelabra ornamentation of flaming urns, we ae 
pointed-leaf festoons and pes ribbons. ae 


* rt Vo 


From the old Simonetti Collection, Rome. 


(Illustrated) 


Molded and dentelled broken cornice, supported by pi 
-Putti’s heads and drapery pasa ee os 
medallions and molded bases. 


From the Dal Zotto Collections Venice. 


-.-—— 


E OF THE 


RAV 


r T 


OOD DOOR ARCHI 


N PAINTED W 


580—TUSCA 


oO. 


N 


EARLY SIXTEENTH CENTURY 


582—Venetian Waxtnut Door ArcHITRAVE OF THE SIX’ 
Similar to the preceding, but with inner round arch » 
ings in spandrels and supported by ee cares 
rosettes and rectangular. panels. hile 


From the Dal Zotto Collection, Venice. 
(Illustrated) 


No. 582-—-VENETIAN WALNUT DOOR ARCHITRAVE OF THE 
SIXTEENTH CENTURY 


583 


ar * . 
“ aon nay 


Woe ENE Oi: 


} 


, 


4 


ar Sts 


. 


ee eae ee 


A Corner oF THE Mepici Linrary FRoM THE MeEpIcEAN PaLacE or 
Marrapt. Sixreenry Century 


Room fitted with carved and molded walnut cupboards, drawers, pigeon- 
holes and enclosed desks with seats. Paneled cupboard, hinged doors 
with wooden knobs carved with scrolled acanthus-leaf medallions, and 
pilasters with scrolled leaf and fruit pendants. Drawers with carved 
aprons and pigeonholes, and drawers, with wooden knobs, separated by 


[ No. 


Continued | 


583 


carved and molded brackets. Paneled walnut ceiling with molded ribs, 
fitted with hinged trapdoor and with central panel painted, on canvas, 
with an escutcheon charged with the Medici coat-of-arms and surrounded 
by Amorini and scrolls. Remarkable for its fine patina. 


About 10 feet square. 


Note: This library, which formed one of the most interesting features of the 
Medicean Palace of Marradi, within a few miles of Florence, was removed bodily and 
has been set up in exact conformity with its original appearance. Thus there is 
offered the unusual opportunity of acquiring a small room entirely finished and carved 
by workmen of the best period of the Italian Renaissance. 


584—Tue Henri Quatre Dininc-RooM FROM THE CHATEAU DE Rosny 


This room has been transported bodily from the chateau and is offered 
in its integrity as it was seen by numerous visitors to the Chateau in the 
time of the Lebaudys. About one hundred years ago it was repaired by 
the Comte la Marois, but Signor Tolentino has removed, as far as pos- 
sible and in accord with his knowledge, practically all the insignificant 
details and the trim that did not seem to belong to the original room. 
What is now offered consists of the crowning glory of the Chateau, the 
chimneypiece of old oak, with its exquisitely carved frieze and side 
supports; the richly carved sideboard, with its shelf for silverware and 
dishes; the “Bahut,” the “Lavabo,” of Royal marble, two canopied 
thrones, two benches, eight suits of armor, two armored wooden horses, 
two small bronze chandeliers, two iron andirons and an iron fire-screen. 
The other objects shown in the room are catalogued and sold separately. 
The ceiling, a simple affair of plain beams, was not deemed worthy of 


removal. 


The Henri Quatre Dining-room of the Chateau de Rosny, which Signor 
Tolentino has secured in its entirety, with all its furniture and armored figures, 
was one of the most celebrated examples in France of Renaissance art. The his- 
tory of the Chateau begins as far back as the middle of the eleventh century (1070), 
when Raoul de Meauvoisin began the long and brilliant line of “Seigneurs barons” of 
Rosny. In 1360 Amaury Mauvoisin, sixteenth Seigneur de Rosny, became the owner 
of the Chateau by the death of his brother, Guy the Fifth. For centuries the place 
met with varying fortunes, until in 1529 Jean IV of Béthune became its owner through 
his marriage with the daughter of the eighteenth Seigneur de Rosny. It passed in 1554 
to his son, Francis, and in 1602 Maximilian I of Béthune, Duke of Sully, the son 
of Francis, who had become Henry IV’s minister, built the actual Chateau, the old 
home having been burnt by the English in 1435, Until 1718 the Seigneurie de Rosny 
remained in the family of the Dukes of Sully, when Maximilian VI, the last of the 
Dukes, sold it to Count Francis Oliver of Senozan, who, dying in 1736, left all his 
possessions to his niece, Countess of Talleyrand-Périgord, Count Joseph-Archambaud 
becoming Marquis de Rosny in 1779, From Count Talleyrand-Périgord, Duc de 
Dino, who inherited Rosny at his father’s death in 1805, it eventually came into the 
possession of the Duchesse de Berry, who built the two present wings and spent large 
sums on the decoration of the interior. Following her exile for political reasons in 
1830, she disposed of the Chateau, which was later acquired by the Comte de la Marois, 
son of the famous General of that name. He added to its glories, but in 1869 sold it 
to M. Jean-Gustave Lebaudy, one of the most celebrated of sugar “kings.” At the 
death of his widow, Mrs. Jean-Gustave Lebaudy, the Chateau, so pleasantly situated 
on the banks of the Seine, became the property of M. Paul and then of M. Jean 
Lebaudy. The eccentric career of “The Emperor of Sahara” need not be dwelt upon. 
Suffice it to say that, at his death at the hands of his wife on Long Island, the famous 
Henri Quatre Dining-room came into the possession of Signor Tolentino, who now 
offers it to the American public. 

In 1907 there was published in Paris a monumental work, elaborately illustrated, 
and written by M. Marcel Fouquier, entitled “Les Grands Chateaux de France.” In 
the first volume of this work much space is devoted to the Chateau de Rosny. After 
a brief history of the place, attention is devoted to its exterior appearance. “The 
Chateau,” says the author, “so imposing in its harmonious simplicity, was conceived 
in the beautiful, sober and correct style which prevailed during the reign of Louis 
XIII, by whose name it is known. Large dry moats surround the Chateau, over which 
two drawbridges place one in touch with the Park.” He then describes the great 
Salon of the Duchesse de Berry, usually known as the “Salon jaune,” from the pre- 
vailing color of its hangings and decorations. 

From the “Salon jaune,” he continues, “one enters the great dining-room, the most 
interesting feature of the Chateau de Rosny. 

“Without warning,” says M. Fouquier, “one comes into the period of the Renais- 
sance and experiences to the utmost the seignorial magnificence of the age of Sully. 

“This beautiful room, with its monumental chimneypiece, its knights in ‘cap au 
pied’ suits of armor, who are ranged like visions of a distant age along walls hung 
with precious stuffs, with its ancient cupboards, its sideboards covered with carvings, 
this room excites a lively admiration. 

“The superb chimneypiece in carved oak, facing the door, is an example of the 
greatest beauty, due to its exquisite workmanship as well as to the originality of the 
subjects which are represented.” ; 


(Illustrated—See also Frontispiece) 


inn ce 
at err 


, 


ROSNY, NEAR PARIS 


n 


No. 584A—VIEW OF THE CHATEAU DE 


QNVALVHO AHL NI SVM LI SV WOOU-ONINIG AI AUNAH AHL—*89 ‘ON 


ee 
a 


rai 


WOOU-ONINIG AI AUNHH AHL NI ‘UONUV 
NI SLHDINM OMG AGNV ONIM V AG GALNOOWUAS ‘GUVOGHCIS—H8s “ON 


wustueeeas 


No. 584—-SECTION OF THE HENRY IV DINING-ROOM 


No. 584—“LAVABO” OF ROYAL MARBLE IN THE HENRY IV DINING-ROOM 


585—Four Panes or Frencu Paiwrep Room, BY Jean ‘Bexan . 


(1674-1726). Excurrenrn Century 


Rectangular shape. Two horizontal and two. vertical par 
row and one wide, painted, in distemper, the narrow verti 
a panel occupied by a spirally twisted column surmour 
with two figures in eighteenth century costume walkin 
and two figures lying on their backs on curved rods belo 
panels painted with arabesques and grotesqueries, in 
seated on a throne, a lion, a leopard, wolves and bi 
birds, festoons, baskets of fruits and flowers, scrolls ai 
All four surrounded by borders of scrolled panels of : 
shells, with shaped panels below of flowers and leaves | 
sole brackets. mere) 
(Illustrated) 


ad 


No. 585—JEAN BERAIN PANEL OF THE EIGHTEENTH CENTURY 


AYOLNAD HLINAALHOIA AHL dO 'THNVd NIVYAA NVAL—S8E “ON 


AYWOINGO HLINGULHOI AHL AO THNVd NIVUAA NVAL—S8¢ ON 


emeprmten 
ak Sree rene comet 


Fallen eeenigee ite iatieed damm eee 


2, ah fn I i, yf 


are tee ie nT cml 


(Pia 


/ 


icici tia Litho nse tie dares 1. daha gta 


A AB pe ae! AD ag MOM I ithe hap ca antes, 


BERAIN PANEL OF THE EIGHTEENTH CENTURY 


3S5—JI EAN 


Na. 


FIFTH AFTERNOON'S SALE 


MONDAY, APRIL 26, 1920 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


587—VeNeETIAN VetveT PovtcuH oF THE SEVENTEENTH CENTURY 


Bourse-shaped. Crimson velvet with square pointed sides paneled with 
steel borders enclosing stems of pointed leaves. Molded steel base and 
silk drawing strings. 

Height, 1014, inches; width, 6 inches. 


588—VenetTian VELVET Poucn or THE SIXTEENTH CENTURY 


Spade-shaped, with silken draw-strings, silk and silver thread tassels at 
the angles, an inner border of silver lace and an outer border of gold 
galloon. 

Height, 17 inches; width, 18 inches. 


589—Venettan VeLveT Povucn or THE SixTEENTH CENTURY 
Bourse-shaped. Crimson velvet, finished with band of reticulated gold 
thread galloon, plaited gold cords and silk and gold thread fringe. 


Height, 17 inches; width, 15 inches. 


590—FLorENTINE Sitk Potcn oF THE SEVENTEENTH CENTURY 


Rectangular shape, with annular opening. Rose-colored silk appliqué- 
embroidered, with white silk braid, in a pattern of voluted panels with 
curved angles. Borders of white silk cord, large tassels and fringe. 


Height, 21 inches; width, 13 inches. 


591—Irauian Emeproiwerep Vetver Poucn or THE Earty SEVENTEENTH 
CENTURY 
Triangular-shaped. Blue velvet, embroidered in gold bullion thread in 
a raised pattern of scrolls, leaves and flowers. Finished with gold tassels 
and fringe. 
Height, 18 inches; width, 27 inches. 


592—TIranian VeELvET~CusHion OF THE SEVENTEENTH CENTURY 


Rectangular shape. Covered with purple velvet. Finished with silver 


lace. 
Height, 14 inches; width, 14 inches, 


593—F LorENTINE Emprorperep Sirk Cusnion or THE SIXTEENTH CENTURY 
Rectangular shape. Covered with rose-colored silk embroidered, with 
silver thread, in a pattern of scrolled branches of pointed leaves, pome- 
granate-shaped medallions and flowers. Finished with silver lace. 


Height, 114% inches; width, 184% inches. 


594—F  LorEnTINE Emsproiperep VeLver CusHion oF THE SEVENTEENTIt 
CENTURY 
Rectangular shape. Covered with crimson velvet, embroidered in gold 
bullion thread and silk, in relief, with scrolls and pointed leaves. 


Height, 13 inches; width, 16 inches. 


595—VENETIAN Empromperep Vetyer Pane or THE SIXTEENTH CENTURY 
Rectangular shape. Crimson Genoese velvet, embroidered in gold bullion 
thread with scrolls, cornucopie and a central medallion. Finished with 

gold fringe. 
Height, 20 inches; length, 92 inches. 


596—FLoRrENTINE EMBROIDERED Sitk CusHION OF THE SIXTEENTH CrenTURY 


Rectangular shape. Covered with salmon-pink silk embroidered, with 
silver thread, in a pattern of scrolls, flowers, serrated leaves and pome- 
granate-shaped floral medallions, Finished with silver thread fringe. 


Height, 11Y, inches; width, 20 inches. 


597—Pair or VENETIAN Emprorerep Siix CusHions oF THE SEVENTEENTH 
CENTURY 

Rectangular shape. Covered with crimson silk appliqué-embroidered, 

in yellow silk, with oval scrolled medallions surrounded by grotesche 


scrolls. 
Height, 16 inches; width, 201%, inches, 


598—Pair or VENETIAN EMBROIDERED SILK CUSHIONS OF THE SEVENTEENTH 
CENTURY 


Similar to the preceding. 
Height, 16 inches; width, 201% inches, 


K 
599—Pair or VENETIAN SILK-EMBROIDERED CUSHIONS OF THE SEVENTEENTH 
CENTURY 


Rectangular shape. Covered with crimson silk appliqué-embroidered, in 
yellow silk, with vases, birds and gryphons with scrolled tails. 


Height, 17 inches; width, 201% inches. 


600—-FLoRENTINE EMBROIDERED VELVET CUSHION OF THE SIXTEENTH CENTURY 


Rectangular shape. Crimson velvet appliqué-embroidered, in green 
silks, with a wreath of leaves. 
Height, 21 inches; width, 16 inches, 


601—-Parr oF GreNorsE Curt-vELVET CusHtons OF THE SIXTEENTH CENTURY 
Rectangular shape, with indented corners. Covered with green velvet, 
cut in a pattern of interlacements and scrolls. 


Height, 1 foot 4 inches; width, 1 foot 11 inches, 


602—VENETIAN EMBROIDERED VELVET CUSHION OF THE SEVENTEENTH 
CENTURY 


Rectangular shape covered with amber-colored velvet embroidered, in 
white silk, with a pattern of rosetted interlacements enclosing palmette- 
shaped figures and supporting rectangular lappets. Finished with silk 


fringe. 
Height, 19 inches; width, 221% inches. 


603—Srr or Turee VENETIAN EmprormpERED VELVET CUSHIONS OF THE 
SEVENTEENTH CENTURY 


Rectangular shape. Covered in dark purple velvet embroidered, in 
silver bullion thread, with heart-shaped medallions and scrolls. 


Heights, 14 inches and 13 inches; width, 23 inches and 20 inches. 


604—Grnorse VELVET CUSHION OF THE SIXTEENTH CENTURY 
Rectangular shape. Covered with purple velvet. 


Height, 1 foot 5 inches; width, 1 foot. 9 inches. 


605—Gernorse VELVET CUSHION OF THE SIXTEENTH CENTURY 


Rectangular shape. Covered with dark green velvet and finished with 
gold bullion fringe and tassels. 


Height, 19 inches; width, 21 inches. 


606—GernorsE Vetver CusHION OF THE SIXTEENTH CENTURY 
Rectangular shape. Covered with plain green velvet bordered with gold 


galloon and finished with gold tassels. 
Height, 20 inches; width, 22 inches. 


607—Gernorse VELVET CUSHION OF THE SEVENTEENTH CENTURY 
Rectangular shape. Covered with plain blue velvet bordered with 
crimson velvet and finished with silver lace. 


Height, 18 inches; width, 22 inches. 


608—Srr or Fovr Cur Genorse VeLvet CusHion Covers OF THE SIx- 
TEENTH CENTURY 
Rectangular shape. Amber-colored velvet, cut in a diapered pattern and 
bordered with crimson velvet. 


Heights, 17 and 14 inches; lengths, 24 and 22 inches. 


609—Two Irauian Sitx Damask CusHIoNs OF THE SEVENTEENTH CENTURY 
Rectangular shape. Covered with rose-colored silk damask woven in a 
pattern of scrolled leaves and flowers. 


Heights, 20 and 17 inches; widths, 23 and 20 inches. 


610—GENOESE VELVET SETTEE CUSHION OF THE SIXTEENTH CENTURY 


Rectangular shape. Covered with purple velvet finished with a central 


band of gold galloon. 
Height, 1 foot 5 inches; length, 3 feet 4 inches. 


611—Venetian Pornt Lace Cotiar anp Currs oF THE SIXTEENTH CENTURY 
Semicircular collar and rectangular cuffs. Venetian “roselline” or “rose- 
point” lace of fine linen thread worked in a diapered pattern with Van- 

dyked border. 
Length, 40 inches; depth, 81%, inches. 


Note: This is a very remarkable example of Venetian point lace. 


(Illustrated) 


612—F.LorenTINE EmpromErReD SitkK UMBRELLA OF THE SIXTEENTH 
CENTURY 

Umbrella covered with white silk embroidered with flowers in colored 

silks and gold and silver thread finished with tasseled fringe. Stick 


wound with white silk embroidered to match. 
Length, 49 inches. 


613 


Pair oF GENOESE JARDINIERE VELVET CusHion Covers or THE LATE 
SEVENTEENTH CENTURY 
Rectangular shape. Varicolored velvet cut, on a cream-colored ground 
in a design of vases of flowers, floral festoons and branches of flowers 
and leaves. Finished with silk braid and frilling. 
Height, 22%, inches; width, 251% inches. 
(Illustrated) 


fw 4, 


Pps) 
yo 


See WR, 
Pos 


ee 
3 < 
“3,” 


«2.9! 
{@, 


<@ 
eae 


> 
34 
4 


ae ae 
Va 
as 


611 


614—Frencn Cour “Frisi” Vetver Taste Cover or THE Pompapour PrEriop 
Rectangular shape. Light rose-colored velvet, cut in a pattern of mean- 
der stripes and floral sprays piqués with white silk. Finished with silver 


lace. 
Height, 1 foot 6 inches; width, 1 foot 8 inches. 


615—GENOESE CuT-VELVET TABLE Cover OF THE Earty SIXTEENTH CENTURY 


Rectangular shape. Purple velvet, cut in a pattern of a diamond leaf 


diaper and bordered with silver galloon. 
Height, 16 inches; width, 21 inches. 


616—GeENorsE Empromerep Vetiver Smati Tarte Cover or THE LaTE 
; SEVENTEENTH CENTURY 
Rectangular shape. Dark blue velvet, embroidered in silver with a cen- 
tral wreath enclosing a star and a scrolled pomegranate border. 


Height, 1 foot 10 inches; width, 1 foot 10 inches, 


617—Iranian Cut-veLtvet Taste Cover or THE SIXTEENTH CENTURY 
Rectangular shape. Center with green velvet panel cut in a diaper of 
cruciform and octagonal figures bordered by panels of rose-colored 
velvet and finished with green silk fringe. 


Height, 18 inches; width, 22 inches. 


618—Pair or GENOESE JARDINIERE VELVET CusHion Covers or THE LATE 
SEVENTEENTH CENTURY 


Similar to No. 613. 
Height, 221%, inches; width, 251% inches. 


619—Pair oF GENOESE JARDINIERE VELVET CusHion Covers or THE LATE 
SEVENTEENTH CENTURY 


Similar to No. 613. 
Height, 221%, inches; width, 251, inches. 


620—GeEnorsE VeLveT SMALL Taste Cover or THE SIXTEENTH CENTURY 
Rectangular shape. Gold-colored velvet center and salmon-colored vel- 
vet border, finished with silver braid and gold lace. 


Height, 1 foot 11 inches; width, 2 feet. 


621—GENoESE CuT-vELVET Smauti Taste Cover or tHE Larr FirrreNntTH 
CENTURY 


Rectangular shape, with rounded corners. Olive-green velvet, cut in a 
pomegranate diaper design. 
Height, 21 inches; width, 19 inches. 


622—Itrauian Cut-veLvet Taste Cover oF THE SIXTEENTH CENTURY 


Rectangular shape. Centers with brown velvet panel cut in a diaper 
of cruciform and octagonal figures bordered by panels of red velvet and 
finished with red silk fringe. 

Height, 20 inches; width, 22 inches. 


623—Frencu Cut-vELvET Taste Cover oF THE PomMpapour PrERIoD 


Rectangular shape. Sapphire-blue velvet cut, on a rose-colored ground, 
with scrolled leaves and flowers and diapers. Finished with silver braid. 


Height, 1 foot 10 inches; width, 2 feet. 


624—ITatian Huncary-potnt TasLE Cover OF THE SEVENTEENTH CENTURY 


Rectangular shape. Embroidered, in colors, on brown and green grounds 
with scrolls of volutes, acanthus leaves and fruits, enclosing medallions 
of acanthus-leaf wreaths and sprays of roses and lilies. Finished with 
silk braid and silk and gold thread fringe. 


Height, 22 inches; width, 23 inches, 


625—GeENogEsE Cut-vetvet TasLe Cover OF THE SIXTEENTH CENTURY 
Rectangular shape. Green velvet, cut in a pattern of double voluted 
floral scrolls on a gold ground. Finished with gold thread fringe. 


Height, 13 inches; width, 32 inches. 


626—Irauian Cut-vELveET Taste Cover oF THE SIXTEENTH CENTURY 
Rectangular shape. Covered with blue velvet, cut in a diaper of voluted 
triangular scrolls. Finished with silk galloon. 


Height, 20 inches; width, 30 inches. 


627—GeEnorEsE CuT-vELVET TasLE CovEeR OF THE SIXTEENTH CENTURY 
Rectangular shape. Ruby velvet, cut in a pattern of diamond medallions 
formed by bands of rosettes enclosing floral sprays. Finished with silk 


fringe. 
Height, 22 inches; width, 321, inches. 


628—Irauian Cor-vetvet TasBLe Cover OF THE SIXTEENTH CENTURY 
Rectangular shape. Blue velvet, cut on a cream-colored ground, with a 
diaper of zigzags and diamonds. 


629—Irauian Empromwerep Vetvet Taste Cover oF THE SEVENTEENTH 
CENTURY 
Rectangular shape. Appliqué-embroidered, in silk and gold bullion 
thread, on a velvet ground with C-scrolls, rococo scrollings and inter- 
lacements. Finished with silk fringe. 


630—IrauiaAN Cut-veLveEtT Taspite Cover oF THE SIXTEENTH CENTURY 
Rectangular shape. Lilac-colored velvet, cut, on a cream-colored 
ground, with a diaper of floral sprays and rectangular medallions. 


Height, 3 feet 3 inches; width, 1 foot 8 inches. 


631—Irauian Vetver Taste Cover or THE SIXTEENTH CENTURY 


Rectangular shape. Dark green velvet, paneled and bordered with 


silver lace braid and galloon. 
Height, 281, inches; width, 39 inches. 


632—Ser or Irauian Vetvet Horst Trappincs oF THE SEVENTEENTH 
CENTURY 


Set consists of three pieces, a shaped saddle-cloth and two pistol holsters 
of dark rose-colored velvet embroidered with silver thread in a raised 
pattern of leaves, scrolls and flowers. 


633 


Irauian Cut-vetvert Taste Cover or THE SIxTEENTH CENTURY 


Rectangular shape. Green velvet, cut, on a yellow ground, with a diaper 
of scrolls, flowers, and rectangles. 


Height, 3 feet 10 inches; width, 3 feet 6 inches. 


634—Irauian Cur-veEtveT TasLe Cover oF THE SIXTEENTH CENTURY 


Rectangular shape. Blue velvet, cut on cloth-of-gold ground. Woven 
with palmettes, with a diamond diaper of leaves and scrolls. 


Length, 3 feet 2 inches; width, 3 feet 11 inches. 


635—GENOoESE CuT-vELVET CovER oF THE SEVENTEENTH CENTURY 
Rectangular shape. Crimson velvet, cut, on a cloth-of-silver ground, in 
a pattern of pomegranates in diamond medallions formed by scrollings. 


Height, 80 inches; width, 44 inches. 


636—GenorsE Cur-vELVET Strip oF THE SEVENTEENTH CENTURY 


Similar to the preceding. 
Height, 106 inches; width, 22 inches. 


637—Ivrauian Cut-veLvet Srrip oF THE SixTEENTH CENTURY 


Rectangular shape. Blue velvet. Cut, on a light ground, with a diaper 
of scrolled leaves, flowers and fleurs-de-lis. 


. D) “ a a rl y of 
638—Pair or FrorentvINE EmproipereD VELVET PANELS OF THE FIFTEENTH 
CENTURY 


Rectangular shape. Apple-green velvet, appliqué-embroidered in cloth- 
of gold and colored silks with oval medallions of coats-of-arms sur- 
mounted by ducal coronets and supported by statant lions and scrolls. 


Height, 1 foot 3 inches; length, 4 feet 1 inch, 


3¢ r > | = “ oes & vs T. a | 
639—Two Srrivs VENETIAN APPLIQUE-EMBROIDERED VELVET OF THE SIX- 
TEENTH CENTURY 


Rectangular shape. Dark blue velvet, appliqué-embroidered in yellow 
and white silk edged with gold and crimson silk cord in a pattern of 
voluted and scrolled acanthus leaves, vases of fruits and leaves. 


Lengths, 47 and 36 inches; width, 9 inches. 


640—GENOESE Cut-vELvET Tasie Cover oF THE SIXTEENTH CENTURY 


Rectangular shape. Old-gold velvet, cut in a pattern of a floral diaper. 
Finished with gold and silk fringe. 


Height, 1 foot 5 inches; width, 4 feet 4 inches. 


641—FLorRENTINE CutT-vELVET TABLE CovER OF THE SIXTEENTH CENTURY 


Rectangular shape. Blue velvet, cut in a pattern of a floral and scroll 


diaper interspersed with Florentine floral fleurs-de-lis. Finished with 
silver braid. 
Height, 4 feet 2 inches; width, 1 foot 5 inches. 


642—GernorsE Vetvet Taste Cover or THE SIXTEENTH CENTURY 
Rectangular shape. Of sky-blue velvet, with border of silver lace. 
Height, 3 feet 6 inches; width, 3 feet 9 inches. 


From the Wilkins Collection, Florence. 


643—Irauian Sivk Damask Taste Cover OF THE SEVENTEENTH CENTURY 


Rectangular shape. Rose-colored damask, woven in a pattern of scrolled 
leaves and flowers. Finished with gold and silk ball fringe. 


Height, 3 feet 2 inches; width, 3 feet 11 inches. 


644—FLorENTINE EMBROIDERED Sirk TasLeE CovER OF THE SEVENTEENTH 
CENTURY 


Circular shape, with lambrequined border. White silk, embroidered with 
gold bullion thread in a design of Florentine lilies, diapers and scrolled 


flowers and leaves. 
Diameter, 3 feet 5 inches. 


645—GeENoESE VELVET PANEL OF THE SIXTEENTH CENTURY 
Rectangular shape. Dark blue velvet, divided into two panels and bor- 
ders with gold galloon. Silk and gold tassels at the corners. 


Height, 1 foot 9 inches; width, 6 feet 6 inches. 


646—Irauian EmBroweErep VELVET PANEL OF THE SIXTEENTH CENTURY 
Rectangular shape. Dark crimson velvet appliqué-embroidered in cloth 
of gold, gold bullion thread and purple velvet with a floral wreath enclos- 
ing an escutcheon charged with a coat-of-arms and a scrolled border. 


Finished with gold lace. 
Height, 3 feet; width, 5 feet 8 inches, 


647—VENETIAN Cut-vELVET TasLe Cover oF THE SIXTEENTH CENTURY 
Rectangular shape. Dark green velvet, cut in a pattern of narrow 
stripes, alternating with gold strips on a light ground. Finished with 
brocaded silk braid, a band of green velvet and tasseled silk fringe. 


Height, 89 inches; width, 47 inches. 


648—Gernorse Cur-vetver Taste Cover or THE SIXTEENTH CENTURY 
Rectangular shape. Crushed strawberry-colored silk velvet, cut in a 
pattern of conventional floral sprays and scrolled leaves. Finished with 
a green velvet border and silk fringe. 
Height, 331%, inches; width, 57 inches. 


649—Irauian Cut-vetvet TaspLe Cover or THE SIXTEENTH CENTURY 


Rectangular shape. Greenish blue velvet cut, on a ground of cloth of 


gold, in a diaper of squares and stars. 
(ae ys 


Height, 4 feet 4 inches; width, 3 feet 4 inches. 


650—Irauian Sirk Damask Taste Cover or THE SIXTEENTH CENTURY 


Rectangular shape. Crimson damask, woven in a pattern of a floral 
diaper. 


651—Irauian Cur-vetver Taste Cover or THE Sixreenru Century 
Rectangular shape. Two strips of red velvet, cut, on a ground of cloth 


of gold, with a diaper of diamond-shaped scrolled figures and quatre- 
foils. Finished with gold and silk fringe. 


Height, 3 feet 5 inches; width, 5 feet 5 inches. 


652—Pam or Travian Emproiperep VetvetT Panets oF THE SIXTEENTH 
CENTURY 
Rectangular shape. Appliqué-embroidered in colored silks and silver 
thread with arabesques of scrolled leaves and flowers. 


Height, 4 feet 81%, inches; width, 10 inches. 


653—GeENoEsE CuT-veLvVeT oF THE SEVENTEENTH CENTURY 
Rectangular shape, with rounded corners. Crimson velvet, cut in a 
pattern of a double quatrefoil diaper on a white ground. 


Length, 5 feet 4 inches; width, 3 feet 10 inches. 


654—F Lorentine Emproierep Vetiver Panen or THE SixreENTH CENTURY 
Rectangular shape. Embroidered on sapphire-blue velvet in raised gold 
bullion thread with a central shield-shaped medallion and scrolled leaves 


and flowers. 
Height, 1 foot 8 inches; width, 6 feet 10 inches, 


655—VENETIAN Emprorerep Vetiver Panen or THE SEVENTEENTH CENTURY 
Rectangular shape. Dark blue velvet, embroidered with gold and silver 
bullion thread with an oval medallion enclosing a monogram and scrolled 


leaves and flowers. 
Height, 1 foot 9 inches; width, 6 feet 8 inches. 


656—Irarian Cur-vetver Taste Cover or tHe SixteentH Century 
Rectangular shape. Green velvet cut, on a dark yellow ground, with a 
diaper of scrolled leaves and flowers. Finished with silk braid. 


Length, 5 feet 9 inches; width, 3 feet 4 inches. 


657—Irauian Cut-vetvet Taste Cover or THE SIxTEENTH CENTURY 


Rectangular shape. Two strips of red velvet cut, on a yellow ground, in 
a diaper of scrolls and serrated leaves.and with borders of scrolled 
interlacements. Finished with silk fringe. 


Length, 5 feet 83 inches; width, 3 feet 8 inches. 


658—-FLorENTINE Cut-vELVET CAPE oF THE SIXTEENTH CENTURY 


Semicircular shape. Green velvet, cut in a pattern of a leaf diaper, 
tufted by hand with silk, on a cream-colored ground. Above is a band 
of silk brocatelle woven in green on a yellow ground in a pattern of 
scrolled floral medallions separated by scrolled leaves and flowers. Above 
and below are borders of silk woven in a pattern of green and white 
hexafoils and edged by narrow stripes woven in red and white. Finished 


with a green silk fringe. 
Height, 4 feet 6 inches; width, 5 feet 7 inches. 


659—Frencuw Cutr-vetvet Taste Cover or tHE Louis XV Perriop 


Rectangular shape. Light rose-colored velvet, cut in a pattern of stripes 
and floral sprays. Finished with gold bullion lace. 


Height, 5 feet; width, 5 feet 4 inches. 


660—Vexetian Sizx Brocape Watt Hancine oF THE SIXTEENTH CENTURY 
Rectangular shape, with shaped ends. Two bars of wood with ends 
turned, carved and gilt. These support a breadth of silk brocade woven 
in a pattern of scrolled roses and other flowers, with colored silks and 
silver thread on a white silk ground. Finished with silver lace braid and 


silk tasseled fringe. 
Height, 77 inches; width, 22 inches. 


661—Two Srrivs GENoESE CUT-VELVET OF THE SEVENTEENTH CENTURY 
Salmon-colored silk, cut in a diaper of floral sprays on a cloth-of-silver 


ground. 
Widths, 24 inches; lengths, 65 and 46 inches. 


662—Irauian Cur-veLvet TanLe Cover OF THE SIXTEENTH CENTURY 


Rectangular shape. Green velvet cut, on a ground of cloth of gold, with 
a diaper of hexagons enclosing scrolled flowers and leaves. Finished with 
silk braid. 

Length, 6 feet 2 inches; width, 3 feet 4 inches. 


663—Frexcu “Frist? Vetiver Taste Cover or THE LATE SEVENTEENTH 
CENTURY 
Rectangular shape. Green “frisé” velvet, in a diaper of scrolls, rosettes 


and fleurettes. 
Height, 6 feet 3 inches; width, 3 feet 7 inches. 


664—Irauian Cur-vetvet Taste Cover oF THE SIXTEENTH CENTURY 
Rectangular shape. Four strips of green velvet cut, on a cream-colored 


ground, in a diaper of leaves and hook scrolls. 


Height, 6 feet 8 inches; width, 3 feet 4 inches. 


665—Genorse VELVET Cover OF THE SIXTEENTH CENTURY 
Rectangular shape. Plain taupe-colored velvet. 


Height, 6 feet 10 inches; width, 4 feet 6 inches. 


66G—T wo Covertets or Iranian Crimson Sirk Damask OF THE SIXTEENTH 
CENTURY 
Rectangular shape. Woven in a pattern of pomegranate-shaped flowers 
enclosed in diamond-shaped medallions formed of scrolled leaves. 


Height, 2 yards 6 inches; width, 2 yards. 


667—Genorse CuT-vELVET CoveR OF THE SIXTEENTH CENTURY 


Rectangular shape. Center of crimson velvet cut, on a white ground, 
with a diaper of floral sprays and stars. Border of dark olive green 
velvet cut, on a white ground, with a diamond diaper. 


Height, 47 inches; width, 63 inches. 


668—VeENETIAN Cutr-veLver Taste Cover or tHE Lare SixreEENTH CENTURY 
Rectangular shape, with rounded corners. Crimson velvet, cut In a 
pattern of quatrefoil pancls formed by acanthus-leaf scrolls enclosing 
medallions of flowers and floral sprays. Finished with silk tasseled fringe. 
Height, 64 inches; width, 46 inches. 


Note: From the collection of M. Joseph Spiridon, of Paris, 


669-—Genorse Cur-vELvVET Taste Cover OF THE SIXTEENTH CENTURY 
Rectangular shape. Genoese velvet of red and cream-color, cut in a 
pattern of longitudinal stripes enclosing bands of checkered patternings. 
Finished with a border of green velvet and with silk ball fringe. 


Height, 66 inches; width, 65 inches, 


670—GeEnorsr VELVET TasLe Cover OF THE SIXTEENTH CENTURY 
Rectangular shape. Plain green velvet, finished with inner band of gold 
and silver lace braid and broad border of appliqué-embroidery of silver 
braid in a scrolled pattern. Finished with silk and gold thread fringe. 


Height, 431, inches; width, 10% inches. 


G71—Frencu Cur “Frist”? Verver Taste Cover or THE PoMpapour 
PERIOD 

Rectangular shape. Light rose-colored velvet, cut in a pattern of mean- 

der stripes and floral sprays piqués with white silk. Finished with gold 


lace. 
Height, 6 feet 6 inches; width, 5 feet. 


672—FLorENTINE EmproiwErED VELVET PANEL OF THE SIXTEENTH CENTURY 
Rectangular shape. Salmon-colored velvet, embroidered with gold bul- 
lion thread with a scrolled escutcheon charged with the coat-of-arms of 
the Torrigiano family of Florence and decorated with two panels of 
brocade woven in gold bullion thread on a rose-colored ground. Fin- 


ished with gold galloon. 
Height, 7 feet 5 inches; width, 1 foot 10 inches. 


673—FLorENTINE EmBroipERED Sitk PANEL OF THE SIXTEENTH CENTURY 


Rectangular shape. Appliqué-embroidered on a crimson silk ground in 
colored silks, velvet and gold bullion thread with voluted floral scrolls 
and a border of geometric design. Finished with gold braid. 


Height, 1 foot 8 inches; width, 7 feet. 


674—Genorse Cur Vetyer Hanerne or THE SixTEENTH CENTURY 
Rectangular shape. Purple velvet, cut in a diaper of stars and voluted 
scrolls with bands of plain purple velvet. 


Height, 4 feet 3 inches; width, 7 feet 2 inches. 


675 


676 


678 


680-— 


681— 


Guenouse Vetver Strap or tne Sixreenra Cenrury 


Rectangular shape. Sky-blue velvet, 


Krom the Wilkins Collection, Florence. 


GuNnorse Cur-venver Cover or tue Larne Sixteentra Century 
Rectangular shape. Red velvet, cut in a design including an escutcheon 
charged with the coat-of-arms of the family of the Pope Braschi of 
Rome, 


Iranian Vexver Cover or tas Lare Sixreentu CENTURY 
Rectangular shape. Sky-blue velvet, finished with a fringe of gold 
bullion thread, 


Krom the Wilkins Collection, Florence. 


a ¥ 4 
Genoese Vetver Taunus Cover or tae Sixreenrn Crenrury 


Rectangular shape. Plain crimson velvet, bordered with gold galloon, 


ITevght, 88 inches; width, 76 inches, 


Krencu Kmpromwerep Sink Tanne Cover or rue Louis XVI Prop 


Rectangular shape. Double surfaced, embroidered on both sides, in col- 
ored silks, on satin grounds of green and crimson, with floral meanders 
and stripes tied with knotted ribbons and with floral sprays, 


Height, 58 inches; length, 82 inches, 


Pam ov Frencn Emnroierey Sink Tante Covers or tHe Loui XVI 
Pisniop 


Similar to the preceding, 
Height, 27 inches; width, 4% inches. 


Lor or Genorse Veuver or vig Sixreenrn Crenrury 
Several lengths of red rosée velvet, 


Length, about 81 wards; width, about 22 inches. 


Six Srrivs or Genouse Vetver or vase Karny SIXTEENTH Cenrvury 
Plain crimson velvet. 
Widths, 20 inches; about VY yards, 


683—Fourreen Srruvs or Genorse Vetver or tHe Karny Sixresnri 


Century 
Plain crimson velvet. 
Widths, 21, 19 and 18 inches; about 4% yards, 


684——Lor or GENorsE VELVET OF THE SIXTEENTH CENTURY 
Several lengths of rose-colored velvet. 


Length, about 417%, yards; width, about 22 inches. 


685—Lor or GrNnorsE VELVET OF THE SIXTEENTH CENTURY 


Several lengths of crimson velvet. 
Length, about 141% yards; width, 22 inches. 
686—VENETIAN Vetvetr Coat oF THE SIXTEENTH CENTURY 


Shaped as a long loose coat with wide sleeves. Striped purple velvet. 
Length, 8 feet 11 inches. 
687—Venetian Vetver Rope or THE SIXTEENTH CENTURY 
Shaped as a long loose robe with wide sleeves. Dark crimson-colored 


velvet. 
Length, 5 feet 8 inches. 


688 


Venetian EmprowrEred Vetiver CHasuBLe OF THE SIXTEENTH CENTURY 
Double spade-shape with opening for neck, Crimson velvet sides and 
central vertical band of crimson velvet appliqué-embroidered, in colored 
silks and gold thread, with an arabesque patterning of vases, voluted 
scrolls and leaves, having, in front, a circular medallion embroidered with 
a figure of the Virgin and Child on a gold background, Finished with 


gold galloon. 
Height, 90 inches; width, 291, inches. 


689—Corric Emprowwrerred Linen Datmaric or THE THIRTEENTH CENTURY 
Robe-shaped, with short sleeves and open neck. Linen cloth, with vertical 
bands in front and back, embroidered in red, green, white and black 
with heart-shaped floral medallions and bordered on either side by bands 
embroidered, in blue, on a white ground, with a meander pattern. Around 
the neck is a band of yellow semé with heart-shaped leaves embroidered 
in blue. 


690—F Lorentine Cur-vetver Smaus Avrar Fronrau or THE SIXTEENTH 
CENTURY 
Rectangular shape. Crimson velvet, cut in a repeat pattern of oval 
panels formed by scrolled stems of foliage and enclosing medallions of 
pomegranates and leaves. Paneled with vertical bands embroidered in 
colored silks and gold thread in a pattern of scrolls and trefoils. Fin- 
ished with gold netted fringe. 


Height, 23 inches; width, GO inches. 
691—Forentine Vevver Avrar Fronran ov THE Sixreenta CEenTurRY 


Rectangular shape. Bordered on three sides with wide bands of blue 
velvet, the upper one edged with knotted silver and silk fringe. 


Height, 3 feet 2 inches; length, 5 feet 5 inches. 


692—Porrion oF A FLorENTINE EmBroivErED VELVET ALTAR FRONTAL OF 
THE SIXTEENTH CENTURY 

Rectangular shape. Crimson velvet, embroidered with colored silks in a 
design of an arcade of four round arches supported on baluster-shaped 
columns with circular medallions enclosing quatrefoils im the spandrels. 
These arched niches are occupied by appliqué-embroidered figures of the 
Virgin, standing upon a crescent embroidered in gold thread and holding 
the Child Christ, St. Bartholomew, with his symbolic knife, a Virgin 
Martyr and a Bishop. These figures have halos embroidered in gold 
thread. Above are trees embroidered in colored silks and below are 
tesselated pavements outlined in gold cord. Lower border of a leaf 
meander and quatrefoils embroidered in colored silks. 


Height, 1 foot 7 inches; length, 4 feet 8 inches. 


698—VeNneTIAN Emprotperep Vetver AuLTar FrRonTAL oF THE FirreENTH 
CENTURY 
Rectangular shape. Purple and red velvet, embroidered with vertical 
bands occupied alternately with shaped medallions of pineapples and 
with the panels in each occupied by figures of saints under scrolled 
Renaissance canopies. Above is a horizontal band. embroidered with 
pineapple medallions. Finished with gold galloon, 


(Illustrated) 


694—VeENETIAN EmproiperED VELVET ALTAR FRONTAL OF THE SIXTEENTH 
CENTURY 

Rectangular shape. Vertical bands of purple velvet, embroidered in 
gold thread with trefoil-shaped medallions enclosing pomegranates and 
leaves and separated by panels. embroidered in colored silks and gold 
thread with twelve figures. of saints under canopies of scrolls, vases and 
cherubim supported by candelabra-shaped columns. At the top is a 
vertical band of purple velvet, embroidered in gold threads with trefoil- 
shaped medallions enclosing pomegranates and leaves. Finished with 
gold galloon and vertical bands of green silk. 


Height, 34 inches; width, 90 inches. 


695—Irauian VELVET anpd Brocapre AuLrar Fronrat or THE Earty Srx- 
TEENTH CENTURY 

Rectangular shape. Red velvet, with four vertical bands and horizontal 

strip of yellow and gold brocade woven in a pattern, as to the vertical 

band, of the Assumption of the Virgin, and as to the horizontal bands, 

of rayed medallions enclosing the Sacred Monogram. In the center is a 

medallion with the Virgin in a Vesica Piscis surrounded pee Angels. Fin- 


ished with silk fringe. 
Height, 3 feet 5 inches; width, 7 feet. 


From the Marcuard Collection, Florence. 


(Illustrated) 


693 


SLM RE CR OE AEE 


mo poe MTN: 


Lane e 


695 


696—Iratian EmproiwERED VELVET PorTIERE OF THE SEVENTEENTH CENTURY 


Rectangular shape. Blue velvet, embroidered in golden yellow silk with 
a diaper of scrolls, flowers and leaves surrounded by a floral meander 


border. 
Height, 9 feet 5 inches; width, 6 feet 6 inches. 


(Illustrated) 


697—Ser or Irautaxn Empromerep VELVET EccLestAsTICAL VESTMENTS OF 
THE Late SIXTEENTH CENTURY 


Set consists of a chasuble, two maniples, chalice cover and chalice veil. 
Salmon-colored velvet, embroidered in silver bullion and in relief, in a 
pattern of scrolled leaves and flowers, the chalice veil with a circular 
medallion enclosing the Sacred Monogram. Set consists of five pieces. 


698—GeENoEsSE VELVET CoPE oF THE LATE FIFTEENTH CENTURY 


Semicircular shape. Dark rose-colored velvet. 


Height, 3 feet 10 inches; width, 9 feet 2 inches. 


699—Sovutn Irauian Emprormerep Sitk Corre oF THE SIXTEENTH CENTURY 


Semicircular shape, with spade-shaped hood. Cream-colored silk, em- 
broidered in colored silks and gold thread with an all-over pattern of 
scrolled acanthus leaves and flowers, the hood with a figure of St. Peter 
bearing the keys, surrounded by scrolled floral sprays and finished with 


galloon and silk fringe. 
Height, 4 feet 9 inches; width, 9 feet 10 inches. 


700—GeENoEsSE VELVET CoPE oF THE SIXTEENTH CENTURY 


Semicircular shape. Dark rose-colored velvet, untrimmed. 


Height, 41 inches; length, 112 inches. 


701—FLorRENTINE VELVET CoPeE OF THE SIXTEENTH CENTURY 


Semicircular shape. Crimson velvet, untrimmed. 


Height, 44 inches; width, 113 inches. 


702—FLoRENTINE EmprormpERED VELVET Cope oF THE SIXTEENTH CENTURY 


Semicircular shape. Dark crimson velvet, with broad band above ap- 
pliqué-embroidered on a crimson silk ground with scrolled medallions of 
cherubim, interlacements and floral scrolls. 


Height, 53 inches; width, 116 inches. 


AYOING HINGHLINGAYS AHL JO AUaILYOd LHATHA GHUYHCIOUANA NVIIVLI—969 ON 


pe 


703—Vexetian Vetver Taste Cover or tae Sixreentu Century . 
Rectangular shape. Unusual shade of blue velvet, finished with a silver — 
lace braid. 3 an 

Height, 45 nets a ir 2: 


704— Venetian Crt-vetver Taste Cover or THE Lae Dictate Cexseee 
Rectangular shape. Ruby velvet, cut in a diaper of oval pas As d 
by voluted scrolls and enclosing scrolled acanthus leaves. — 
gold thread braid. fay 

Height, 96 inches; width, 8 

‘ote: From the collection of Mr. Joseph Spiridon, of Paris. 


705—GEN OESE Cut-vELVET Taste Cover or tHe Sixteentu Cen’ 


Rectangular shape. Crimson-colored velvet, cut in a dae 
granate-shaped floral medallions in satin panels formed b 


CrextTury | 
Rectangular shape. Woven on a green pee 6 a pat 
called “Diavolo in bosco,” consisting of detached trees, uins, 
and dancers in colored silks and with scrolled leaves in lver 


Height, 7 feet 2 inches; a 


707—Irauian Cet-verver Cover.ter or THe Sixteentu Ce 
Rectangular shape. Red velvet, cut in a pattern of 
medallions in horizontal lines on a cloth-of-silver ee 
gold-thread network and silk fringe. — 4 
Height, 78 inches; 


708—Tnexe Srnits or Fiowennee Coe Vexver ov tHe Eaniy 
Century 
Green velvet, cut, on a cream-colored ground, i in a} 
heart-shaped scrolled escutcheons enclosing the initial <M” é 

by a crown and displayed on a heraldic 
are oval escutcheons charged with coats-of-arms and F 
winged human masks and the standing figures of two Amorini sur 
with upraised hands baskets of flowers. (Rare.) 


Length, 13 feet 11 inches; widths, 1 foot 10 inches and 1 fe ‘5 i 
(Illustrated) 


AUNLNAO HINADLAIY ATUVA AHL JO LHAATHA LAO ANILNAYOTA AO SdIULS AMUHI—S0L ON 


vA 


ty 


Bey 


709—Lot or FLoRENTINE Sink AND Goutp Brocaprt Hancincs anp BorpEr 
OF THE SIXTEENTH CENTURY 
Rectangular shape. Red silk brocade, woven, in gold thread, on a red 
ground, with interlaced branches, flowers, leaves, birds, heraldic lions, 
and Pope Chigi family’s coat-of-arms, 


Entire length about 62% yards; widths, 23 and 18 inches. 


710—GenorsE VELVET Taste Cover or THE SIXTEENTH CENTURY 
Rectangular shape. Crimson velvet bordered with silver thread and red 
silk fringe. 
Height, 7 feet 6 inches; width, 6 feet 8 inches. 


%11—Irarian Empromerep VetveT Door Surround oF THE SIXTEENTH 
CENTURY 

Rectangular shape. Side of strips embroidered, in gold thread and col- 
ored silks, with scrolled borders and panels with four oval medallions 
embroidered with figures, and with the coat-of-arms of the family for 
whom this was embroidered. Top strip decorated with five rectangular 
panels, embroidered, two with interlaced scrolls, two with Paschal Lambs, 

and one with Papal triad and crossed keys. 
Height of top, 2 feet, 4 inches; length, 12 feet 2 inches; 


Height of sides, 8 feet 6 inches; width 2 feet 5 inches 


712—FLorENTINE SrtK Damask Cover oF THE SEVENTEENTH CENTURY 
Rectangular shape. Crimson silk damask woven in a pattern of octag- 
onal medallions enclosing pomegranate ornaments and vases. Finished 
with silk fringe. 
Height, 78 inches; width, 96 inches. 


7138—Vewnetian Sink Damask Hancine or THE SEVENTEENTH CENTURY 
Rectangular shape, with rounded corners. Crimson silk damask, woven 
in a pattern of large flower and leaf medallions and acanthus-leaf scrolls. 


Finished with ruffled border. 
Height, 801, inches; width, 90 inches, 


714—Iratian Crimson Sink Damask CovERLET OF THE SIXTEENTH CENTURY 


Rectangular shape. Crimson silk damask, woven in a pattern of scrolled 
acanthus leaves and voluted fan-shaped medallions, and finished with 


yellow and rose-colored silk galloon. 
Height, 88 inches; width, 92 inches. 


715—GeENorEsE VELVET CovER OF THE SIXTEENTH CENTURY 


Rectangular shape. Plain light green velvet, in four widths, paneled 
and bordered with bands of gold galloon. 


Height, 8 feet; width, 6 feet 4 inches, 


716—VENETIAN CuT-vELVET TasLE Cover oF THE FIFTEENTH CENTURY 
Rectangular shape. Crimson velvet, cut in a Gothic diapered pattern 
of floral rosettes in circular panels formed by branches of briony leaves. 
Finished with a band of crimson velvet and silk tasseled fringe. 


Height, 65 inches; width, 52 inches. 


717—-GrnorsE VELVET PoRTIERE OF THE SIXTEENTH CENTURY 
Rectangular shape. Slaty blue velvet, bordered with gold lace braid and 
silk fringe. 
Height, 6 feet 7 inches; width, 9 feet. 


718—FLorentine Emproiwwerep Vetver Cover or THE SIXTEENTH CENTURY 
Rectangular shape. Light-blue velvet, appliqué-embroidered in yellow 
silk, outlined with darker yellow silk cord, in a pattern of honeysuckles, 
scrolls and leaves. At the angles are spade-shaped cartouches bordered 
with honeysuckles and scrolls and charged with coats-of-arms sur- 
mounted by radiated crowns. Border of appliqué yellow silk, with oval 
openings. Finished with silk fringe. 


ITeight, 8 feet 6 inches; width, 10 feet 7 inches, 


(Illustrated) 


. 


= 


8 errr 44. 


THE 


COVER OF 


EMBROIDERED VELVET 
IXTEENTH CENTURY 


7 


NTIN 


18—FLORE 


7 


No. 


= 


719—Irauian Sink Damask Cover OF THE SEVENTEENTH CENTURY 


Rectangular shape. Rose-colored silk damask, woven in a pattern of 


scrolled leaves and flowers. 
Height, 8 feet 3 inches; width, 9 feet 8 inches 


720—F LorENTINE EmsroiErep Sirk PANEL oF THE LATE SEVENTEENTH 
CENTURY 
Rectangular shape. Yellow silk, appliqué-embroidered, in colored velvets 
and white satin, with a pattern of scrolls. 


Height, 10 inches; length, 108 inches. 


721—VENETIAN GOLD-EMBROIDERED VELVET COVER OF THE SEVENTEENTH 
CENTURY 


Rectangular shape. Blue velvet embroidered, in gold bullion thread, 
with circular medallion and scrolled leaves and flowers. Finished. with 


gold fringe. 
Height, 96 inches; width, 110 inches. 


722—F LoRENTINE Cut-vELvVET Taste Cover oF THE SIXTEENTH CENTURY 
Rectangular shape. Deep violet-colored cut velvet, cut, on a yellow 
ground, with a diaper of scrolled diamonds enclosing Florentine fleurs- 
de-lis. Bordered with gold galloon. 

Length, 10 feet 3 inches; width, 7 feet 10 inches. 


Note: This cover, exceptionally beautiful and interesting on account of the design 
and unusual color, was woven expressly for the City of Florence, 


723—Frencu Emproiwerep Sink Hanernes anp Borpers or THE Lovis XV 
PERIOD 

Sky-blue silk ground, embroidered, in colored silks, with scrolled 

branches, leaves and flowers. The borders with floral meanders and birds. 
Three panels: Height, 10 feet; width 6 feet 10 inches. 
One panel: Height, 9 feet; width, 6 feet 5 inches, 
One panel: Height, 8 feet 3 inches; width, 7 feet 3 inches. 
Coverlet: Height, 8 feet; width, 7 feet 10 inches. 
Lambrequins: Heights, 16 and 11 inches; length, 45 feet 3 inches. 


724—FLoRENTINE GoLp AND Sruk BrocaprE Hanerincs or THE Earuy Six- 
TEENTH CENTURY 


Rectangular shape. Two with three and two with four breadths of crim- 
son silk brocade woven in dark red silk and gold thread with a repeat 
pattern of quatrefoil-shaped panels formed by dotted bands rosetted at 
the intersections with scrolled interlacements enclosing pomegranate- 
shaped medallions of acanthus leaves. 


Length, 52% yards; width, 211%, inches. 


Note: The design of this brocade is of the fifteenth, but the stuff was actually 
woven early in the sixteenth century. It is extremely interesting also, by reason 
of its marvellous preservation. 


425—Genorse VELVET Cover oF THE SIXTEENTH CENTURY 
Rectangular shape. Purple velvet, without trimming. 


Height, 6 fect 10 inches; width, 9 feet 10 inches, 


“26—VENETIAN SitkK Damask Hancinc or THE SEVENTEENTH CENTURY 
Rectangular shape. Green silk damask, woven in a pattern of scrolled 
and lambrequined floral medallions and acanthus scrolls, on a satin 
ground. Finished with two vertical side borders and silk galloon, 


Height, 89%, inches; width, 11% inches. 


727—IrattaAN SiuK BrocaTeLLeE TanLte CovER OF THE Late SIXTEENTH 
CENTURY 
Rectangular shape. Woven on a green ground, in white, with a pattern 
of pear-shaped medallions formed by scrolled leaves and enclosing vases 
of flowers. Finished with silk fringe. 
Height, 7 feet 7 inches; width, 7 feet & inches. 


728 —Trauan Yettow Sarin Damask Drarery or THE SEVENTEENTH 
CENTURY 
Spade-shaped. Yellow silk damask, woven, on a satin ground, in a pat- 
tern of oval panels formed by curved scalloped leaves enclosing floral 
medallions alternating in design. Paneled with silk tasseled braid and 
finished with silk galloon and ball fringe. 


Height, 100 inches; width, 125 inches. 


729—Venetian Sitk Damask Hancine or THE SIXTEENTH CENTURY 
Spade-shaped, formed of four breadths. Crimson silk damask, woven in 
a pattern of diamond-shaped floral medallions, scrolls, volutes and floral 
sprays on a satin ground. Finished with silk galloon and tasseled fringe. 


Height, 113 inches; width, 127 inches. 


#30—IrauiaN Sink Damask Cover or THE SEVENTEENTH CENTURY 
Rectangular shape. Sky-blue silk damask, woven in a pattern of scrolled 
flowers and leaves. Finished with silk fringe. 


Height, 10 feet; width, 10 feet. 


“31—GenorsE VELVET TaBLE Cover OF THE SEVENTEENTH CENTURY 
Rectangular shape. Apple-green velvet, finished with gold bullion and 


silk thread ball fringe. 
Height, 39 inches; width, 109 inches. 


732—VENETIAN GoLp AND Sitver Brocape Portrikre oF THE 
Earty Sixtrentru Crenrury 
Rectangular shape. Woven, on a crimson ground, in gold 
and silver bullion with a pattern of pear-shaped medallions 
enclosing vases of flowers. 


Height, 8 feet 8 inches; width, 3 feet 6 inches. 


733—Genorse Vetver Portikre or THE SIxTEENTH CENTURY 
Rectangular shape. Purple velvet, divided into three 
panels by silver lace and with a dado line of silver fringe. 


Height, 6 feet 11 inches; width, 5 feet 4 inches. 


734—FLorENTINE EMpBroiperep Vetiver Hancinc Or THE 
SIXTEENTH CENTURY 

Rectangular shape. Four side panels enclosing circular 
medallions of an Annunciation and other Biblical subjects, 
embroidered with gold bullion thread and colored silks, 
surrounded by dragon-headed scrolls and cornucopie. Cen- 
tral spade-shaped panel with circular medallion similarly 
embroidered with the Virgin. 


Height, 1 foot 8 inches; width, 9 feet 7 inches. 


735—Haneincs ann LamBreauins or VENETIAN SILK Broca- 
TELLE OF THE SEVENTEENTH CENTURY 
Rectangular shape. Woven in light green silk on a yellow 
ground with a repeat pattern of floral medallions in two 
designs, scrolls, serrated leaves and floral sprays. 
Length of hangings, about 337 yards. 
Length of lambrequins, 10%, yards. 


736—Fuemisu Tapestry Frieze oy THE Karty SEVENTEENTH 
CENTURY 
Rectangular shape. Woven, on a light ground, in colors 
with octagonal scrolled panels occupied by landscapes and 
separated by festoons of fruits and leaves supported by 
cherubim and tied with looped ribbons. 


Height, 2 feet 5 inches; length, 22 feet 4 inches. 


(Illustrated) 


736 


ANTIQUE RUGS OF THE SIXTEENTH, SEVENTEENTH AND 
EIGHTEENTH CENTURIES 


» * “ 
(37—Guiorpes Prayer Rue or tHE Earty Sixreenru CENnrTury 


Rectangular shape. Field with a yellow ground designed as a triple 
arched mihrab with columns and spandrels filled with varicolored scrolled, 
serrated and pointed leaves; above is a panel of varicolored trefoil pat- 
terning. Inside guard of varicolored rosettes and floral sprays, outer 


guard of floral scrolls and main border of varicolored flower and leaf 
ZIZZags. 


738—Perrsian Rue or tHE Earty Sixtreentu CEentury 
Rectangular shape. Field with dark blue ground patterned with vari- 
colored medallions, flowers and leaves. Border of floral meander in colors 


on a red ground. 
Length, 383 inches; width, 25 inches. 


739—Persian Prayer Rue or tHe EjcnrrenruH Century 

Rectangular shape. Field of mihrab form, with a pointed arch and blue 
ground patterned with three diamond-shaped medallions, each divided 
into four triangular spaces of yellow and red, enclosing rosettes, and 
surrounded by varicolored floral sprays. Sky of varicolored floral 
sprays ona blue ground. Inner guard of a red and black foliage meander 
on a blue ground and a band of red and white barber-pole pattern, outer 
guard of a counterchange toothed design in red and green and a band 
of red and white barber-pole pattern. Border of varicolored quatrefoil- 
shaped floral medallions on a red ground. 


Length, 4 feet 7 inches; width, 2 feet 81% inches. 


740—Ruve oF THE SEVENTEENTH CENTURY 
Rectangular shape. Field, with dark green ground, patterned with seven 
shaped medallions, three with green, two with blue and two with red 
grounds, enclosing cruciform and scrolled figures and surrounded by 
varicolored diainonds, rosettes and hexagons. Inner and outer guards 
patterned in black and blue. Side borders of hexagonal panels and 
rosettes, and top and bottom borders of rosettes, in red on white grounds. 


Length, 5 feet 9 inches; width, 3 feet 11 inches. 


741—Prrsian Ruc or THE SIXTEENTH CENTURY 
Rectangular shape. Green ground, patterned with a varicolored cen- 
tral rectangular medallion surrounded by eight trefoils, four rosettes 
and four conventional birds. Above and below are trefoils ending in 
birds’ heads. Triple inner and outer varicolored guards, inner border 
of palmettes and outer border of pear-shaped ornaments, all in various 
colors. 


742—Asita Mixon Rue or THE SEVENTEENTH CENTURY ie eee) 
Rectangular shape. Field patterned, on a red ground, wi 
panels formed Bye curved borders of dark blue a with f 


Rete gular Aah 


Woven on a blue ete “the field ith 
treiligies and oval medallion surrounded by leaves an floral 
the border of twisted acanthus leaves. ES 


Length, 7 Jeet: 
(Illustrated) 


ae BecaE * ow uae 


Aetneicaitiansoiece uation 
ini Bi AR RES Se 


EARLY 


RUG OF THE 


EENTH CENTURY 


SAVONNERIE 


FRENCH 


No. 7438— 


IGHT 


E 


744—F Lemisu VerpuRE TAPESTRY OF THE SIXTEENTH CENTURY 


Rectangular shape. Woven, in colors with greens, blues and browns 
predominating, with trees, foliage, flowers and plants and on the left a 
seated animal. In the distance a landscape with a building. In the 
center a stream. : 

Height, 7 feet 2 inches; width, 5 feet 9 inches. 


745—Parr or Frencn Sarnt Cyr Tapestry Pictures oF THE SIXTEENTH 
CENTURY 


Oval shape. Woven, in colors and with admixture of silver threads with 
three-quarter-length standing figures of Saints Peter and Paul. The 
former, with bald head and curling hair and beard, dressed in a blue 
robe with brown mantle, carries in his left hand the symbolic keys. The 
latter, with curling hair and long beard, dressed in a red and blue robe 
with red mantle, carries the symbolic sword. Dark background. 


Height, 20 inches; width, 16 inches. 


746—Ftiemisuo VerRpURE TAPESTRY OF THE SIXTEENTH CENTURY 


Rectangular shape. Woven, in colors with greens, blues and browns 
predominating, with trees, foliage, flowers and plants and in the distance 


a landscape with buildings. 
Height, 7 feet 4 inches; width, 6 feet, 


747—F Lemisu Tapestry PANEL oF THE SIXTEENTH CENTURY 
Rectangular shape. Woven, in colors, on a brown ground, with a circu- 
lar medallion occupied by a subject of ‘The Pelican in her Piety” feeding 
her young from her breast, with rosetted scrolls and vases of flowers and 
leaves. At either end are bands of floral rosettes. Bordered with blue. 


Height, 95 inches; width, 221%, inches. 


Rectangular shape. Wovens in colors, ae green and blue oe 
ing, on a sie uae with foliage, fore nee ae rocks, and ir 


cee) 9 fect oes : 


. 


in green and blue interspersed with flowers and smaller lez 
and with the figure of an ape seated upon a camel, of ag 
tail, of long-tailed birds and butterflies all in yellows. 

sists of a rod looped with ribbons in gi ee ae 
ground, — : : 


No. 749—ENGHIEN VERDURE TAPESTRY OF THE EARLY 
SIXTEENTH CENTURY 


Det | 


ae ie 

, a] 
‘ee 
id 
2 
Z| 
a 


750—Brussets VERDURE TAPESTRY OF THE SEVENTEENTH CENTURY 


Rectangular shape. Woven, in greens and browns on a light ground, in 
a verdure pattern of trees with foliage, plants and flowers, with a chateau 
in the background. In the center is a hunt of wild animals with men in 
sixteenth century costume on horseback, two standing on the right, and 
birds, animals, and a dog. Border, in colors, on a yellow ground, of 
figures, arcaded panels of vases of flowers, festoons and Putti. 


Height, 10 feet 8 inches; width, 10 feet 9 inches. 


751—F Lemisu Verpure Tapestry oF THE Earuy SIXTEENTH CENTURY 


Rectangular shape. Woven on a light ground, in blues, greens and 
browns, with a “verdure” design of acanthus-leaf scrolls, trees, flowers, 
leaves, birds and animals, including two camels, and in the upper back- 
ground with a mountainous landscape, a castle and other buildings. 
Border of flowers, fruits, leaves and birds. 


Height, 10 feet 4 inches; width, 9 feet 10 inches. 


752—Set or TuHree “Vieux Paris” Sink anp Gotp Woven TApestrirs OF 
THE Earty SEVENTEENTH CENTURY, AFTER THE CARTOONS OF 
Toussaint DuBrEevIL 


Rectangular shape, two large and one smaller. Woven, in colored silks 
and gold bullion thread, one with a subject of “Rebecca at the Well.” 
Rebecca in the center giving a drink of water to Abraham’s servant 
Eliezer, who comes to choose a wife for Isaac. On the right are two 
camels laden with gifts, on the left a well with two figures. In a moun- 
tainous landscape. One with a room richly furnished in the seventeenth 
century style, with a group of figures in the center representing the 
“Return of the Prodigal Son.” The gray-bearded father embraces the 
prodigal son, while behind stand the mother and the elder brother. In 
the foreground a greyhound, and by the blazing fire a cat. This tapestry 
is signed “J. L. F.” One, smaller, with a subject of the “Vision of 
Zacharias.” Before an altar with a burning sacrifice kneels Zacharias, 
with his wife Elizabeth on the other side. Above hovers the angel Gabriel. 

[Continued 


Lhe berp ak 
Na OS Sed 


* 
bey aar 


FS TTANR be Mvsay 


Wee 


Ph 


‘ 


Li 
aye he ee oh sd 
wikis Meee OA 


ie 


Peta Poe 


* $e 8a Terres 


No. 752—SET OF THREE “VIEUX PARIS” SILK AND GOLD 
WOVEN TAPESTRIES, AFTER CARTOONS BY DUBREUIL 


nlite P ME INEN I “5 


’ 


ey oS 9 ean Hp ng 


fede THF 


¢ 
e 


lis 


Sere rorne 


No. 752—SET OF THREE “VIEUX PARIS” SILK AND GOLD 
WOVEN TAPESTRIES, AFTER CARTOONS BY DUBREUIL 


[No. 752—Continued | 


Landscape background. All with inner borders of guilloche pattern and 
outer borders of varicolored flowers tied with knotted ribbons. Two with 
scrolled escutcheons charged with the coat-of-arms of Comte de Fois- 
seret (Franche-Comté) : “d’azur au cerf passant d’argent, la téte som- 
mée dune étoile du méme.” 


Heights, 10 feet 11 inches and 10 feet 6 inches; widths, 10 feet 8 inches, 8 feet 
5 inches and 4 feet 8 inches. 


Note: The double monogram, “J, L. F.,” is that of Jean Le Févre, a famous 
tapestry weaver who worked with his father in the Louvre and afterward went to the 
Gobelins Factory when it became a State Institution. A series of tapestries similarly 
signed is in the Uffizi Galleries, Florence, among the most important exhibits. “Vieux 
Paris” tapestries are seldom met with, and these, woven with gold threads, and with 
the original linings, are of great interest. 


753—EncuHieN VerpurE Tapestry OF THE Earty Sixreentu Century 
Rectangular shape. Woven, on a dark green ground, in browns, yellows 
and greens, with scrolled, serrated and acanthus leaves, flowers, and ani- 
mals, including a lion, a tiger, a stag, a hare and rabbits, and with birds 
and butterflies. Border, on a red ground, of scrolls, birds and half 


figures of Putti. 
Height, 8 feet 10 inches; length, 25 feet 8 inches. 


* 


EVENING SALE 


MONDAY, APRIL 26, 1920 


IN THE GRAND BALLROOM 


OF THE PLAZA HOTEL 
Firrn Avenue, 58TH to 59TH STREET 


BEGINNING AT 8.30 O'CLOCK 


300 


766—Carvep aNnp Painrep Woop Sratvur wirnh CANopy By JACOPO DELLA 
QuerciA. FirrEENtTH CENTURY 

Standing figure of a saint with outstretched arm and loose robe, stand- 

ing under a silk-covered wood canopy with a scrolled frieze, columnar 

pilasters with spiral leaves in relief and stepped rectangular and semi- 


circular base, the fronts paneled with scrolls. 
Height of figure, 20 inches. 


500 


767—Tuscan Carvep AND Painrep Woop Sratrur By JACOPO DELLA QueERCcIA 
Late Frereenru Century 

Seated figure of the Virgin, in gathered robe and mantle, seated in a 

chair with voluted back and curved legs, with the right hand raised and 


the left holding, on her lap, an open book. On rectangular base. 
Painted. Modeled by Jacopo della Quercia (1374(?)-1438). 


Height, 40 inches. 


3745 


768—S1ENESE CARVED AND Painrep Woop Srarue or THE Karty Firreenru 
CENTURY 
Full-length figure of the Virgin, seated on a throne with straight open 
back and caryatid arms. She wears a red robe, blue mantle and hood, 
exposes her breast with her right hand and with her left supports the 
standing figure of the Child Christ, who wears a tunic, holds a sphere 
in His left hand and raises the right in the attitude of benediction. 
Rectangular molded base, with paneled front having a raised escutcheon 


in the center. 
Height, 41 inches. 


769—Pair or Frorentine Guazep Trrra-corra Bas-reELieFs By GiovANNI 
DELLA Ropsstia (1469-1527(?) ) 

bOO Two figures of holy women lamenting. Both wear flowing robes girdled 
at the waist. One, with hood, holds out both hands in an attitude of 
grief; one, with long flowing hair, raises one hand to her breast and 
holds a fold of her robe in the other. Both figures in pointed-arched 
niches with velvet backgrounds. The robes glazed in blue and purple, 

the heads and hands in unglazed terra-cotta. 


Height, 33 inches; width, 16 inches. 


(Illustrated) 


770—VENETIAN Patntrep AND Giut ParreER-MACHE ALTO-RELIEF OF THE FIF- 
TEENTH CENTURY By BENEDETTO pA Matrano (1442-1498) 


995 Rectangular tablet, modeled in high relief with the three-quarter-length 
figure of the Virgin with bowed head, in robe and mantle. Supporting 
on her right arm the undraped Child Christ, who wears a necklace of 
beads and faces the spectator. Above, in the right and left upper 
corners, are winged cherubim, painted and gilt. In molded wooden 
box frame. 

Height, 25 inches; width, 18 inches. 


From the old Simonetti Collection, Rome. 


No. 769—GLAZED TERRA-COTTA BAS-RELIEFS BY 
GIOVANNI DELLA ROBBIA (1469-1527(?)) 


T71—FLorENTINE Stucco StaTuerte py Rossevuino. Firrrenta Century 
Standing figure of a nude St. John the Baptist with his right hand raised 
upward with the gesture of benediction and his left holding a wreath 
of leaves. On rectangular molded pedestal. Colored naturalistically. 


Modeled by Antonio Rossellino (1427-1490). 
Height, 27%, inches. 


Note: The same composition, but in marble, is opposite the “Paradise Doors” by 
Ghiberti in Florence. 


172—-FLORENTINE CoLorep TErra-cotta STATUETTE By RossELLINO. Fir- 
TEENTH CENTURY 


fF 5 Full-length figure of a bambino with one hand on breast, the other with 
forefinger pointing to his mouth. Modeled by Antonio Rossellino 
(1427-1490). 
Length, 21 inches. 
From the Marcuard Collection, Florence. 


773—VENETIAN CoLorep Srucco Group ny Jacopo SANsovINoO. FIrreentH 


}|OHO CENTURY 
Full-length figure of the Virgin, in red robe and blue mantle, seated with 
her left foot extended; she holds in her right hand an open book which 
she reads, while the undraped Child Christ, seated on her lap, leans 
forward to embrace the youthful St. John the Baptist, who stands at 
the Virgin’s side. On rectangular base with semicircular projection. 


Height, 19: inches. 


( J 0 0 774—FLoRENTINE GuazepD 'TerRA-coTTA FicgurE oF THE SIXTEENTH CEN- 
TURY BY GIOVANNI DELLA Rossra (1469—1527(?)) 
Full-length figure of St. Anthony in bare feet with long, flowing hair. 
He wears a blue robe, purple mantle, cape and hood, and holds his 
right hand pressed to his breast. At his side is the emblematic hog. 
On shaped and molded base. Head, hands and feet unglazed. 


Height, 33 inches, 


775—Co.orED Stucco Bas-rEiIEr BY Sprranvio 1 DA Maxrova. 
CENTURY 


(> 5 O Without background. Modeled with @ falc of the 
mantle and hood, supporting with her left hand and _ 
right the hands of the Child Christ | OAS a tunic. 


~ 4 


charged with a ‘coat-of-arms. “Modeled by Store 


eset a (1425-1500). i 
Height, 20% ‘ine 


4 +3 


me T Mustrated ) 


st? = 


No. 


775—STUCCO 


BAS-RELIEF BY SPERANDIO DA MANTOVA 


sel 776—FLoRENTINE Stucco Ficure oF THE FirrrenrH CENTURY By JACOPO 
ne + ~ DELLA QUERCIA 


Bust of the Virgin, in red robe, blue mantle and hood, with head inclined 
to the right. She clasps with both hands the Child Christ in a brown 
tunic, who nestles close to His Mother, turning His full face to the 
spectator. On rectangular carved, painted and gilt pedestal, the front 
and sides carved with voluted strapwork and fan-shaped center. Ground 
painted cream-color with carving gilt. Modeled by Jacopo della Quer- 
cla (1374-1438). 

Height, 30 inches; width, 22°, inches. 


EMP 


EY RIE ryt cect 


57 5 777—F LoRENTINE TERRA-coTTA Bas-RELIEF OF THE FIrrEENTH CENTURY BY 
ANTONIO RossELLINO 
Half-length figure of the Virgin, seated in a voluted and rosetted chair. 
She wears a robe and mantle, and holds on her left knee, with her right 
hand clasping His legs and her left around His shoulder, the Child 
Christ in a linen tunic. On octagonal molded, painted and gilt base with 
paw feet. Modeled by Antonio Gambarelli, called Rossellino (1427-1490). 


Height of terra-cotta, 25 inches. 


345 


778—F LorENTINE CoLorED Trerra-corra Bas-revier BY ‘THE 


serves as background. ‘Terra- cotta tabernacle frame \ 


pane Meri Firreenti Century 


Child Christ. Shee an angel holds in bothe ate Re - 


arch, trefoil pointed upper arch, with cherubim. thy De ble E 
pilasters, with Sans fluted oe malted base é ae ul 


i ORES 
Lt a og 


No. 778—TERRA-COTTA BAS-RELIEF BY THE “MAESTRO DELLA CAPPELLA 
PELLEGRINI” 


O50 


779—FLoRENTINE ‘TeRRA-coTTA BAs-RELIEF OF THE FirrEENtTH CENTURY 


py AnpreA Verroccuio (1432-1488) 


Rectangular shape. Modeled, in low relief, with the three-quarter- 
length standing figure of the Virgin, in robe, mantle and hood, sup- 
porting with both hands the standing figure of the Child Christ dressed 
in a linen tunic. The halos of Christ and the Virgin and the border 
of the latter’s robe are gilded. In old carved, painted and gilt taber- 
nacolo frame, with broken pediment, molded cornice, and frieze painted 
with floral scrolls and birds, supported by caryatid figures of angels 
on voluted, drapery-festooned brackets. Plinth painted with floral 
scrolls and birds. Inner frame carved with egg-and-dart ornaments. 


Height, 23 inches ; width, 17 inches. 


Note: Verrocchio attained fame not only by reason of his own artistic power, but 
as the master of the three great artists, Lorenzo da Credi, Pietro Perugino and 
Leonardo da Vinci. This example was in the celebrated Ferroni Collection, Rome. 


et> 


780—FLorENTINE Wax Bas-RELIEF OF THE FirreeNrH Century By MICHEL- 


0zz0 Micueiozz (1396-1476) 
Rectangular tablet modeled, in low relief, with a three-quarter-length 
standing figure of the Virgin in a robe, a mantle secured with a strap 
and a hood, supporting, with both hands, the undraped standing Child 
Christ. In molded and gilt wooden frame. 


Height, 27 inches; width, 19%, inches. 


Note: It is questionable whether another wax model of the finest period of the 
Italian Renaissance, and of this size, has descended to our own day in such admirable 
condition. It was probably made as the original from which a silver or bronze was 
to be cast by the “cire perdu” process. 


ASO 


Fuerrentn Century 
Rectangular shape. Modeled with the half-figure of the : 
in a blue mantle and white neckerchief. She presses 
both hands gee ppiete J undraped Child Sere ho ha 


Note: Frei the collection of Gabriele @’Annun zio ic : 
mander-in-chief of Fiume d'Italia, and purchased | at ‘the: Ca 
eros from whose collection it howler | This: stuceo, n 


in Paris. An exactly similar es of this bas vellc’s 
of its coloring, is in the Berlin Museum. In the cata 
direction, by Frida Schottmuller and igs in ie T 
as No. 130. 

(Illustrated) 


: Me ae ee, 
elation A 


— 


+ OE Ed eee: = 


= 


No. 781—STUCCO BAS-RELIEF BY DESIDERIO DA SETTIGNANO 


Tbe, 


789 FLORENTINE CoLoRED Stucco Bas-reier By RossELLINO. FirreEENTH 


CENTURY 
Rectangular shape. Molded with the standing three-quarter-length 
figure of the Virgin in red robe, blue mantle and white hood, supporting 
with her left hand the Child Christ, undraped save for a white drapery, 
who stands bending forward with His arm across His Mother’s breast. 
In a contemporary carved, painted and gilded tabernacle frame with 
straight molded cornices, painted frieze, pilasters with fluted shafts and 
leaf capitals, plain plinth and molded apron. Modeled by Antonio 
Rossellino (1427-1490). 
Height, 22 inches; width, 14%, inches. 
Note: An exactly similar example to this bas-relief, differing only in the details 
of its coloring, is to be found in the Berlin Museum. In the catalogue prepared, under 
Dr. Bode’s direction, by Frida Schottmuller and published in Berlin in 19138, it is 
there illustrated as No. 154. 


(Illustrated ) 


si atten 
NOB 5 SBN Yom . 
iy ei Gt ea 


No. 782—STUCCO BAS-RELIEF BY ROSSELLINO 


clam, OMS 


783— FLORENTINE Paprer-MAcHis Bas-netier BY Mixo p DA Frrsorn, 
CenrTuRY . uae ae 

ee Rectangular shape. Modeletierats the eas half-fgare of | 
in loose blue ee seated in a haa with Boye ss arms and § su 


with molded cornice, sere pie frien 
and carved baluster-shaped pilasters, sides decorated - 
arabesques and dies of plinth painted with escutcheor 
remarkable for its bronze like barnes Modeled by 
(1431-1484). rs A ea ee 
ec ; Height, 420 ‘ine 

“a lustrated) . 


MINO DA FIESOLE 


MACHE BAS-RELIEF BY 


7883—PA PIER 


No. 


HO? 


784—FLorENTINE CoLoRED Stucco BAs-RELIEF BY Donaterio. x: 


CENTURY 
Rectangular shape, with enncerenes top. Piicselet a : 
an “Adoration.” The Virgin, in red robe and hood, stand ie 
hands before the manger in which lies at full length the 
a banded tunic, At the Virgin’s right side kneel St. Josep 
left are seen the heads of a cow and a donkey. Modeled 
Niccold di Betto Bardi, known as Dene gee: 3 


of its SAE is to be found in the Berlin Mace ae 
under Dr. Bode’s direction, by Frida Schottmuller and p 
1913, it is there illustrated as No. Hh Ene 


ee 


No. 784A—STUCCO BAS-RELIEF BY DONATELLO 


goer 


* 


CENTURY 


Rectangular shape, with younduaxthed on Modeled 4 


bending over the draped Child Christ, hon she s 
hand, while with her right she clasps His wrists. Mn 
wood frame, with “spirally fluted pilasters and arch a 


Bardi, called Donatello (1383-1466). ee 
Height 30 inc 


its oilers is to be found in the Berlin Mancase In tha’ 
Dr. Bode’s direction, if Frida Schottmuller and published in 
there illustrated as No. 44. 


No. 785—COLORED STUCCO BAS-RELIEF BY DONATELLO 


‘ 


786—FLorENTINE gees ts teen ad BY Doxarexto. se 


CENTURY a4 
Od Rectangular shape. Modeled with the figure ‘of. ne he: 
ce robe holding, with both hands, the draped Child. C Ee and 


over him, her head seen in profile. In tabernacle fi 
wood with pointed pediment, fluted and astragalled : 
and molded base. Modeled by Donato di Nicos 

~ Donatello Wace gy a 3 


ago. 


NATELLO 


RELIEF BY DO 


No, 786—TERRA-COTTA BAS- 


g200 


787—FLoRENTINE CoLorep PAprer-MACHE BaAs-RELIEF BY DONATELLO. Fir- 


TEENTH CENTURY 

Rectangular shape. Modeled with the famous “Casa de’ Pazzi” Madonna, 
a half-length figure of the Virgin standing, in a blue mantle with white 
hood, her face seen in profile bending over and pressing her face close 
to that of the Child Christ, whom she tenderly holds with both hands. 
In an old tabernacle frame of carved, painted and gilt wood, with 
molded and carved pointed pediment, pilasters with arabesque carved 
shafts and apron flanked by the carved consoles. Modeled by Donato 
di Niccold di Betto Bardi, called Donatello (1383-1466). 

Height, 48 inches; width, 331, inches. 


From the old Stefano Bardini Collection, sold, in Florence, many years 
ago. 


Note: Illustrated in “Florentine Sculptors of the Renaissance” by Wilhelm Bode, 
London, 1908, in which Bode says: “The earliest authenticated Madonna by Donatello 
I take to be the marble relief in the Berlin Museum—the Pazzi Madonna. The broadly 
conceived modeling of the figure in the Pazzi relief, the strong, simple fold of the 
heavy mantle, as also certain faults of foreshortening in the left hand, lead one to 
place the production of this manifestly authentic masterpiece in the early twenties.” 
In the catalogue prepared, under Dr. Bode’s direction, by Frida Schottmuller and 
published in Berlin in 1913, it is there illustrated as No. 30. 


No. 787—THE CASA DE’ PAZZI MADONNA 
COLORED PAPIER-MACHE BAS-RELIEF BY DONATELLO 


$00 


Satie Pope ye TA aie? LT aS SE ET a OE Sen x Se a 
ae ana rn natirmeseeeet ~~ sabbiarntitn Lames 1. ae sdesinillicamreh aint sacealienae an easateiee GO $ 


— = yo arts 
eee. i bes Pee as scl ee ee ray ee: 
: Pw F 4 ie haat ° jf 


788—WoopEN FLORENTINE OFFERTORY-SHRINE WITH Srucco BAs-RELIEF OF 


vue Firereentn Century py Donate.io (1383-1466) 
Rectangular shrine with molded cornice, and plain frieze supported by 
Doric pilasters having above scrolled escutcheons charged with the arms 
of the Medici family in relief, round-arched opening with two hinged 
doors with inner faces semés with gold stars and molded base. Below is 
a slot for the insertion of offerings and a removable drawer. Tablet 
modeled, in low relief, with the half-length figure of the Virgin in red 
robe and white hood. With raised folded hands she adores the Child 
Christ, in swaddling clothes, who reclines in front of her. 


Height, 27, inches; width, 23 inches. 


Note: This little bas-relief by Donato de’ Bardi, better known as Donatello, bears 
a striking resemblance to the well-known group by him which forms one of the chief 
treasures of the Victoria and Albert Museum, London. It may be noted that the 
arms of the Medici family, here appearing, are those of the elder Cosimo and belong 
to a date prior to the assumption by the Medici of the title of Grand Dukes of Florence. 


789—FLorRENTINE CoLorEeD Stucco Bas-RELIEF. By BENEDETTO DA MAarANo. 


FirTrEENTH CENTURY 


Rectangular shape. In two portions, the upper modeled with a stand- 
ing half-length figure of the Virgin in a red robe and blue mantle, exhib- 
iting the undraped Child Christ, who lies in her arms, to a child St. 
John the Baptist, who stands looking upward. In the angles are cheru- 
bim. In painted and gilt tabernacle frame, with molded cornice, frieze, 
plinth and pilasters enriched with arabesques in gilt pastiglia on a blue 
ground. Modeled by Benedetto da Maiano. | 


Height, 43 inches; width, 30 inches. 


From the Stefano Bardini Collection, sold, in Florence, many years 
ago. 


Note: This stucco closely resembles da Maiano’s marble bas-relief in the collec- 
tion of the Duc de Montpensier. An exactly similar example to this bas-relief, 
differing only in the details of its coloring, is to be found in the Berlin Museum. 
In the catalogue prepared, under Dr. Bode’s direction, by Frida Schottmuller and 
published in Berlin in 1918, it is there illustrated as No. 208. 


790—FLoRENTINE Guazep Trerra-coTtra ALTO-RELIEF OF THE SIXTEENTH 
Century By GIOVANNI DELLA Rossa (1469—1527(?)) 


Half-length figure of Moses, with curling brown beard and hair and 


green mantle, holding the Tablet of the Law. Glazed and colored 
naturalistically. 


« 


Height, 254, inches; width, 17 inches. 


00 791—F LorENTINE Paprer-MAcHE Bust anp Woopen REwiQquary OF THE SIx- 
4} TEENTH CENTURY 


Bust portrait of St. Antonino, Archbishop of Florence, shown in his 
Dominican robe of black, with a white border decorated with crosses. 
On an octagonal, molded and painted wooden pedestal, arranged as a 
reliquary with glazed panels for the reception of relics in front and 


sides. 
Height, 20 inches; width, 21 inches. 


\ KnhyVU 


792—Pair or FLORENTINE GLAZED Terra-corraA Portrratr MEDALLIONS OF 


THE SIXTEENTH CENTURY BY GIOVANNI DELLA Rospaia (1469-1527(?)) 
Circular shape. Concave medallions painted, in white reserve and out- 
lined with sepia, on a blue background, with the heads of Roman war- 
riors wearing helmets. ‘The frames are of glazed terra-cotta modeled 
with fruits, flowers, leaves and pine-cones and glazed in naturalistic 


colors. 
Diameter, 29 inches. 
Note: From the collection of Raoul Heilbronner, of Paris. 


(Illustrated) 


793—FLorRENTINE CoLorED Stucco Bas-rewer Tonpo By BENEDETTO DA 


Marano. FirreentruH Crenrury 


Circular shape. Modeled with a seated half-figure of the Virgin in blue 
mantle and white hood, with her left hand resting on the wrists of the 
undraped Child Christ, who sits in her lap and is supported with her 
right hand. Surrounded by a frame modeled with a banded wreath of 
fruits and leaves. Modeled by Benedetto da Maiano. . 


Diameter, 2714, inches. 


Note: An exactly similar example to this bas-relief, differing only in the details 
of its coloring, is to be found in the Berlin Museum, In the catalogue prepared, under 
Dr. Bode’s direction, by Frida Schottmuller and published in Berlin in 1918, it is 
there illustrated as No. 207. 


(Illustrated ) 


792 


794—FLORENTINE GLAZED TerrA-cottA Bust ny GIOVANNI DELLA Roppsia 


(1469-1527(?)) 
Bust of our Saviour, with head in unglazed terra-cotta and body with 
robe glazed in colors. The head, with curling forked beard and mustache 
and long curling hair, is inclined forward and downward, and the robe 
has an open neck with a band of linen embroidery. Over the left 
shoulder is thrown a mantle. Modeled by Giovanni della Robbia (six- 


teenth century). Height. 22 tach 
eight, 22 inches. 


Note: This bust, known to students as the “Marquis Viviani della Robbia,” has 
been often illustrated, twice by the late Marcel Reymond in his books, “Florentine 
Sculpture” and “The Della Robbias.” It is the last work of the family that remained 
in the possession of their descendants, from the present owner. This important 
example is evidence that Giovanni della Robbia, during his lifetime, modeled his 
style on pictures or sculptures by the great masters of the immediate past, such 
as Botticelli, Ghirlandaio, Pinturicchio, Luca della Robbia, Verrocchio and Rossellino. 
In the present instance his work shows the impression made on him by the paintings and 
sculptures of Verrocchio. Professor Allan Marquand of Princeton, leading authority 
on Della Robbias, says that the bust of Christ from the Viviani della Robbia Collection 
appears to him correctly attributed to Giovanni della Robbia, who was undoubtedly 
influenced by Verrocchio. It is, he thinks, to be assigned to the early years of the 
sixteenth century, perhaps as late as Giovanni della Robbia’s statue of St. John the 
Baptist at Galatrona (1518) and earlier than the bust of Christ at the Certosa (1522). 


No, 794—GLAZED TERRA-COTTA BUST BY GIOVANNI DELLA ROBBIA 


Or 


—FLorENTINE GuLAzeD TerrA-corraA MApONNA AND CHILD OF THE Fir- 


TEENTH CrnTURY By ANDREA DELLA Rossa (1437-1528) 


Round-arched tablet enclosed in a frame of egg-and-dart pattern and 
with an ogee-shaped apron outlined by acanthus-leaf rinceaux which 
enclose four-winged cherubim. The tablet shows the figure of the Virgin 
modeled in high relief and kneeling, with her head inclined forward, in 
front of the Child Christ with an expression of ineffable adoration upon 
her face. Her Son reclines at full length upon a bed of foliage in the 
left-hand corner. Above is seen the Holy Father among clouds and 
surrounded by Cherubim. Glazed in white, heightened with gilding 
and with a blue background. The bed of foliage on which the Child 
Christ reclines is glazed in green. 
Height, 89 inches; width, 21 inches. 
Note: Professor Allan Marquand of Princeton, the acknowledged authority on the ~ 
works of the della Robbias, concerning which he has written important volumes, 
says this bas-relief is a variant of Andrea della Robbia’s famous altar-piece at La 
Verna and came from Andrea himself. 


~ s 
Ae. 


LOMOOrOrOrOTO TOO 


ie) 


ve 


~ 


No, 795—GLAZED TERRA-COTTA MADONNA AND CHILD BY 
ANDREA DELLA ROBBIA 


796—FLOoRENTINE CoLoRED Stucco BaAs-RELWIEF BY RossELLINO. FIFTEENTH 


CENTURY 

Rectangular shape. Modeled with the three-quarter-length figure of the 
Virgin seated, in a red robe with a white hood, holding on her lap and 
supporting with her left hand the Child Christ, dressed in a tunie and 
holding a bird in His hands. In the background, in low relief, are two 
vase-shaped candlesticks supporting a festoon of leaves. In old carved, 
painted and gilt wood tabernacle frame, with pointed, molded pediment, 
pilasters with fluted and carved shafts, paneled plinth and molded base. 
Modeled by Antonio Rossellino (1427-1490). 


Height, 50 inches; width, 35 inches. 


From the old Stefano Bardini Collection, sold, in Florence, many years 
ago. 


Note: Though once attributed to Rossellino, this bas-relief, “The Madonna with 
the Candlesticks,” is believed by leading experts to be the masterpiece of the anony- 
mous “Master of the Marble Madonnas,” An exactly similar example to this bas- 
relief, differing only in the details of its coloring, is to be found in the Berlin Museum. 
In the catalogue prepared, under Dr. Bode’s direction, by Frida Schottmuller and 
published in Berlin in 1913, it is there illustrated as No. 156. 


No, 796—COLORED STUCCO BAS-RELIEF BY ROSSELLINO 


797— FLORENTINE Co1orep Srucco Bi eet BY 


Sa 

Carrenta Prniicrint.” Firreen ti Cent J 
Modeled with the seated full-length figure of the 
robe and blue mantle, holding on op rig 
seated Child Christ. Both figures have g 
frame with pointed crocketed Gothic arch, 
pilasters, a lint and molded bas 


No. 797—COLORED STUCCO BAS-RELIEF BY THE 
“MAESTRO DELLA CAPPELLA PELLIGRINI” 


Ds RE a a 


798—Apruzzt Mareie Bas-RELIEF By SILVESTRO DALL’ AquiLaA. FIrTEENTH 
CENTURY 

Rectangular shape, of yellow Istrian marble. Modeled with the standing 
figure of the Virgin, in a loose robe, supporting with her right hand the 
standing figure of the undraped Child Christ, who raises his right hand 
in the act of benediction. In old painted and gilded wood tabernacle 
frame, with molded, dentelled cornice, marbled frieze and plinth and 
columnar pilasters with fluted and astragalled shafts and Corinthian 
capitals. Modeled by Silvestro dall’ Aquila (15th century). 


Height, 4 feet % inch; width, 3 feet 5 inches. 


“he os Me ed 


\y00 799—F Lorentine Cotorep Terra-corra Bas-reLier py FRaNcESco DI SIMONE 
Ferruccio. Lare Frereenru Crenrury 


Irregular shape. Modeled with the three-quarter-length figure of the 
Virgin, seated and wearing a red robe. On her lap reclines the undraped 
Child Christ, whom she supports with her right hand. In old rectangular 
painted wood tabernacle with bracketed canopy, carved and modillioned 
cornice, painted background and shelf beneath. Modeled by Francesco 
di Simone Ferruccio (circa 1480). 

Height, about 28 inches. 


Note: This is an exact model of the marble, by the same artist, crowning the 
tomb of the lawyer Alessandro Tartagni in the Church of San Domenico at Bologna. 


\g0° 


CENTURY a 
Rectangular shape. Modeled with a sabigd af a Pi! 
length figure of the dead Christ with stigmata on 
two youthful angels in sarcophagus carved with f 
frame flanked by fluted pilasters. Modeled by” 
(1430-1492). ; 

Note: Bellano of Padua (a Florentine born) was a ea 
collaborator with Donatello, many of the works formerly a 
recently been recognized as being by Bellano, It is difficult 
works of the two masters. The angels, for instance, in the 
the work of Donatello himself. Signor Tolentino’s attribution 
is confirmed by the opinion of directors of Italian mu 
Professor Perkins, the great critie and collector now resident. nF 
P. Toesca, the author of an authoritative work on ents 
Giacomo de Nicola of the National Museum of Florence. “The ty 
their views in writing. at 


VAOdVd VO ONVTIAD AD AAITHU-SVd AIAUVW—008 “ON 


PAINTINGS OF THE FIFTEENTH, SIXTEENTH, 
SEVENTEENTH AND EIGHTEENTH CENTURIES 


801—FIFTEENTH CENTURY CHINESE PAINTING 


Porrrarr of a lady in flowered robes standing on a tiled baleony and holding 
in both hands a vessel covered with a knotted eloth. In melded wooden frame. 


625 


MARCO DA FORLI OR PALMEZZANO (1456-1537) 


802—A PIETA 
(Panel ) 


Height (of picture), 9% inches; width, 71, inches 


Unprarvep half-figure of Christ, with wounds in side and hands, standing 
erect in a stone sarcophagus and holding up His hands. Behind Him stand 
the Virgin, in a red robe and blue mantle, her mouth open as though making 
lamentation, and an angel, in yellow tunic and red skirt, holding a crown of 
thorns above the Christ’s head. Landscape background with a hill and three 
crosses. Blue sky. In original tabernacolo frame with flat arch having the 
spandrels carved with leaves, supported on detached fluted Doric columns 
standing on acanthus-leaf brackets. Plinth decorated with quatrefoil panels. 
Painted and gilt. 


From the collection of Mr. Boismen, of Nantes. 


FLEMISH SCHOOL OF THE FIFTEENTH CENTURY 


803—PORTABLE TRIPTYCH 
(Panel) 


Height, 5% inches; width, 8 inches 


Center panel with round-arched top, painted with an “Adoration.” In the 
center the Virgin, in a blue robe, and St. Joseph, in a red tunic, are kneeling 
in front of the undraped Child Christ, who reclines at full length on the 
ground in front of them. Behind is a shepherd bearing a lamb on his shoulders ; 
to the left is another shepherd with a staff. Architectural and rocky back- 
ground and landscape in the distance. The hinged wings on either side are 
inscribed, in gold, on brown backgrounds, with quotations in Latin from the 
Vulgate version of the 2nd Chapter of St. Luke. 


MAZZOLINO DA FERRARA (1481-15380) 


804—THE ANNUNCIATION 
(Panel) 


Height, 15 inches; width, 11 inches 


Tur interior of a room with an arched ceiling. The Virgin, in a red bodice 
and blue skirt, is standing on the left near a carved wood prie-Dieu on which 
is placed a book. At the right the Angel Gabriel with purple wings, in a purple 
garment with green scarf, extends his left hand toward her. At the back is 
a four-post bed with turned wooden posts, green curtains and tester, while 
above is a Spiritus Sanctus dove with outstretched wings surrounded by rays 
of gold. In old tabernacolo frame with molded cornice, frieze and plinth, 
decorated, in relief, with panels of masks and scrolls, turned and carved 
baluster-shaped pilasters with vase-shaped bases carved with acanthus leaves 
on modillion-shaped brackets. Molded base. Painted and gilt. 


Note: Mazzolino da Ferrara was a pupil of Lorenzo Costa. 


(Illustrated ) 


li 


Scouerenepar 


_ FRANCESCUCCIO. GHISI 


FourtTEENTH Cexreny Bonocxxse So 


805—VIRGIN AND CHILD 


en frame. 


aes z 
Setting 
aN» ERS RE SLE ef 


MEO DA SIENA (1435-1495) 


FIFTEENTH CEentTuRY Tuscan ScHoou 


806—TRIPTYCH 
(Panel) 


Height, 21% inches; width, 161% inches 


CENTER wing with pointed, crocketed arch top painted with a Virgin, in blue 
robe and hood, seated, with the draped Child Christ seated and encircled by her 
left arm. He holds in one hand an inscribed label. Above is God the Father. 
with the right hand raised in the act of benediction. All figures have inscribed 
halos. Side wings painted with the figures of two saints, one with staff and 
bell, the other with a book, while above are half-figures of female saints, all 
with halos. Gold-dotted backgrounds. 


i apa eng hoe - Pe Ee aes 6 : ss = a 
* Sate omer ee v0 


chick hawt 


SIENESE SCHOOL =<) je 


FirreentH Century — 


tts 


807—VIRGIN, CHILD AND. SAINTS | 
(Panel) 


Height, 27 inches ‘width, ig 


Ix the center the Virgin, in red pe and dark ieee, 
porte, the standing Child Christ i in.a white robe, and 


Cherub. Gold hackieennts tes pated and « } Re wo re a 
arch, having acanthus-leaf OS spirally” twisted - 
plinth. z 


SPINELLO ARETINO (1332-1410) 


FourtTeEENTH CEentTURY FLORENTINE ScHOOL 
808—THE CRUCIFIXION 
Height, 26 inches; width, 16 inches 


In the center is the figure of Christ on the Cross, with six flying angels, of 
whom three receive, in cups, the blood from the wounds in His hands and side. 
Embracing the foot of the cross is St. John, while on his left the Virgin swoons 
in an attitude of grief, supported by one of the Holy Women. On the other 
side stands a Roman soldier, lifting a sponge of hyssop on a reed, and a Jewish 
high-priest with a sword. In the background, on the left, are Roman cen- 
turions with an “S. P. Q. R.” banner, and on the left a group of Jews with 
spears. Gold background. In fifteenth century carved and gilt wood taber- 
nacle frame, with carved and dentelled cornice, carved frieze and pilasters 
and inner round arch with carved pilasters and leaves in the spandrels. Plinth 
carved with honeysuckles, masks and shield-shaped escutcheons. 

Note: Spinello Aretino, or Luca Spinelli, was perhaps the greatest pupil of Ambrogio 


Lorenzetti. Among his other works are the frescoes on the walls of the Campo Santo, Pisa. 
Practically all of these are his work, with the exception of “The Assumption” by Lippo Memmi. 


— 
ee” 
x5 


Ft 


4 
. 


| 4,00 


MICHELE GIAMBONO (MICHELE GIOVANNI BONI) 


(Harty FirreenrH Century) 


809—MADONNA AND CHILD 
(Panel) 


Height, 22 inches; width, 131% inches 


RecrancuLar shape, with round-arched top. In the center sits the Virgin, 
in a richly embroidered blue mantle, holding on her lap the partially draped 
Child Christ and supporting with one hand His head. He looks upward to 
His mother and grasps with His left hand the border of her mantle. Above, 
two angels hold a crown over the Virgin’s head, and below kneel two other 
angels with folded hands. Incised gold background. In carved and gilt wood 
tabernacle frame of the period. 


From the Wilkins, of Florence, and the Gabriele @ Annunzio Collections. 


Note: This picture was formerly in the Capponcina Villa of the great soldier-poet Gabriele 
d’Annunzio, Commander-in-chief of the volunteers in “Fiume d’Italia.’” He mentions it in 
his books, for it hung in his bedroom and he cherished a strong predilection for it. On the 
back is an old printed label stating that under Ferdinand II, King of the Two Sicilies, it was 
catalogued as by Andrea Verrocchio. 


}350 


$10—-MADONNA AND CHILD, WITH per | 
(Panel) eee 


Reerancunar shape, painted with a full-length 
robe and blue mantle and Dente sme on a 


while telor Rene saints, one with a aes 
brimmed hat. Gold background, incised around 
and halo. In old carved and gilt wood taber 
eted-arch pediment, the tympanum painted with a 
Father. Crocketed pilasters with Gothic paneled 
and pediment carved with Gothic tracery. Frame 
with a date. 


F 2Ac ene 
—GLACOMO-RATBOEINT (1484-1557) 


811—VIRGIN, CHILD AND ST. JOHN THE BAPTIST 
Height, 24 inches; width, 191% inches 


SeAvTED figure of the Virgin, looking downward. She wears a red robe with 
pearl and jewel studded neckband, a blue mantle forming a hood, and a pearl 
fillet. On her left knee is seated the undraped Child Christ, turning His face 
upward toward His Mother. On the left stands a youthful St. John the 
Baptist, in a robe knotted on the right shoulder and holding a staff terminating 
in a cross and bearing a label inscribed: “ecce AcNus DEL.” In the background 
is a rocky landscape with a river, and in the distance are the towers and spires 
of a town. 

Note: Giacomo Raibolini was the elder son of Francesco Raibolini, known as Francia. 
He studied under his father, upon whose works his style is based. 


84> 


( Lune " Rent) < . 
MELANZIO IL VECCHIO «| 
(Lare Firreenru Century) ys ya 


812—-A DEPOSITION 


( Panel Pccbiige ls to relents 


a? 21 Hite oii 16 inches 


bodice and red skirt. i front of the aay bears one of t 
green and red, and on the other side another in a green rol 
Behind stand two bearded noblemen, one in a red robe, Bese 
holding the nails 1 in one hand, the other i ina ar robes 


old anided gilt wood frame. 


From the Delaroff Collection, of ae 


Note: Berenson says of this picture that it was painted by a 
Gozzoli, probably Melanzio il Vecchio. eile A gi, Mar 


Hv? 


JACOPO SELLATO ce Cesroms) a 


813—VIRGIN IN ADORATION. AND SAINTS 
(Panel) de 


eight, 27 inches; eiaitea we inches S 


saints including St. Peter ae Mary May laler 
landscape with buildings and figures. In carved, 
nacolo frame with molded and dentelled cornice, frieze 
and honeysuckles supported on two fluted and astragalle 
Molded base and plinth ineorDes “AVE MARIS STELLA oe mee 


-” 


~ i aT Ie TR as, ety att 


Mes Gm ee: oy 
OG Ey GO 
at Mt Ri, Fo i ae 


SP , Eg EE pe 5 Gee ary LE OE IO ay CEI pee BD Se iy AE «a yp att, a ae Sapte sgetn: 


atininnnslcaneetin see » 


i 
F 
f 


ny URE 


n%0 


VENETO-BYZANTINE SCHOOL 


THIRTEENTH CENTURY 
814—MADONNA AND CHILD 
Height, 36 inches; width, 23% inches. 


Recrancutar shape with central panel, showing a half-length figure of the 
Virgin with gash in her cheek, supporting the seated, draped figure of the Child 
Christ holding an open book in His left hand. Both figures have gilt halos, 
in the angles being Greek initials and below three panels of inscription in 
Greek characters. This central panel is surrounded on three sides by eleven 
rectangular panels showing scenes in the life of St. Mark, with buildings 
which represent the architecture of the period. Below is a long panel showing 
St. Mark in the harbor of Corfu blessing the Venetian fleet, which is engaged 
in a naval battle with the Turkish fleet. 


PIER FRANCESCO FIORENTINO (Late 15rH Century) 
815—MADONNA AND CHILD 
Height, 25 inches; width, 14 inches 


SeaTeD figure of the Virgin, in a red robe and blue mantle, forming a hood 
and closed at the neck with a pearl medallion. Her head is inclined to the 
left and she gazes downward at the Child Christ, who, clothed in a tunic and 
with fair hair, rests on her lap. In His right hand He holds a bird. Both 
figures have gilt halos, that of the Virgin being incised with radiating lines 
and dotted borders, that of the Christ being painted with a Maltese cross in 
red, and bordered with raised beads. The background, probably repainted at 
a later date, is green. In old tabernacolo frame, with a round arch and carved 
at the apex and sides with shells and volutes, molded apron and plinth inscribed 
“MARIA GRATIA PLENA D.” painted red and gilt. 


From the Charles Butler Collection, London. MO ag Moy lau > 


Note: According to the celebrated American writer on art, Berenson, Pier Francesco 
Fiorentino is known to have been active during the last three decades of the fifteenth century. 
He was a pupil of Fra Angelico or Benozzo Gozzoli, and was influenced by Neri di Bicci. 
His pictures resemble those of Fra Filippo and Pesellino, 


300 


BERNARDINO FUNGAL (1460-1516) 


816—VIRGIN IN ADORATION AND ST. JOHN THE BAPTIST 
(Panel ) 


Height, 37 inches; width, 20 inches 


FuLt-LENGTH figure of the Virgin in red robe, blue mantle and cambric hood, 
in an interior, kneeling with folded hands in adoration of the Child Christ, who 
lies undraped in front of her, His head supported on a bolster. Leaning over 
Him, also in an attitude of adoration, is the infant St. John the Baptist, with 
his camel’s skin robe and a staff with cross and label inscribed ‘“‘eccE acnus.” 
In the background is an open window through which is seen a landscape with 
a lake and trees. In round-arched tabernacolo frame of carved, painted and 
gilt wood, with fan-shaped cresting and side brackets and gilded with a pattern 
of honeysuckle scrolls. Molded base and plinth inscribed “ave GRATIA PLENA.” 


NORTH ITALIAN SCHOOL OF THE SIXTEENTH CENTURY 


817—AN ADORATION 
(Panel) 


Height (of picture), 25 inches; width, 21 inches 


In the center the Virgin, in a red robe with a dark mantle, kneels in adoration 
of the Child Christ, who reclines, undraped, on a pillow covered by a fold of 
His Mother’s mantle. On the left St. Joseph, shown as a bearded man of 
middle age, leans out of a window with hands crossed. On the right, under 
a pent roof, two cows are feeding out of a manger filled with hay, and three 
youthful angels are singing out of an open book held by two of them. In the 
background two Shepherds, one with bag-pipes, the other with a staff, are 
watching over a flock of sheep. In the distance is a hill crowned with a castle 
and on the right a hill with trees. Above is an angel in a red robe holding a 
label inscribed “‘“aNNUNCIO VOBIS CUM DIVIA NaTIvA.” Greenish blue sky. In 
old tabernacolo frame with molded cornice, plain frieze, paneled pilasters, 
and plinth painted with scrolled leaves and three circular medallions of angels. 


Molded base. 


VENETO-BYZANTINE SCHOOL 


FourtrEENTH CEnTURY 


818—MADONNA AND CHILD 
(Panel) 


Height, 33% inches; width, 27 inches. 


Recrancuxar shape. Painted with a three-quarter-length figure of the Virgin 
in red robe semé with stars, blue mantle and fringed hood, supporting with her 
left hand the draped Child Christ, who raises His right hand in the act of 
benediction and holds a scroll in His left. Both figures have incised scrolled 
halos while above are circular medallions with Greek initials. Gold back- 
ground. 


BELLINI SCHOOL OF THE FIFTEENTH CENTURY 


819—-MADONNA AND CHILD 
(Tondo: Panel) 


Diameter, 3514 inches 


Circunar shape. Half-figure of the Virgin in a red robe embroidered with a 
gold band at the neck and a blue mantle, forming a hood, over a white cambric 
head-dress. She holds in her right hand a coral necklace which she shows to 
the undraped Christ Child, who is supported on her left arm. He sits with 
upturned face. On either side are two cherubim and clouds. Blue background. 
In circular molded frame painted, with a band of pointed-leaf scrolls, in gold 
on a dark ground. 


PIETRO CAVALLINI (1l4ru Crenrury, prep circa 1384) 


FLorentINE SCHOOL oF THE FouRTEENTH CENTURY 
820—A DEPOSITION 


In the center is the dead body of Christ, shown at full length and supported 
and surrounded by a group of Disciples, Joseph of Arimathea and Holy 
Women. Landscape background and on the left an open sarcophagus. In 
molded wooden frame with stepped top. 


(Illustrated ) 


PAOLO UCCELLO (1807-1475) 


FLORENTINE ScHOOL 
821—FRONT OF A SMALL CASSONE 


Height, 16 inches; width, 271% inches. 


In the center are the figures of an old man and a youth, both in full suits of 
golden armor, with clasped hands, on which rest the hands of a young woman 
dressed in black embroidered with gold and surrounded by her maidens in 
various costumes. On the left a youth, in red tunic and gold mantle, sits on 
horseback. On the right a companion of the youth, in gold armor, stands 
behind him; an old man, in red tunic and dark blue jerkin and _ tights, 
holds a white horse, while a Knight, in gold armor with a red cape, sits astride 
a brown horse. Behind him a crowd of soldiers in gold armor are holding 
lances, and behind them rise the turrets of a castle. Background of rocks, 
trees and a river and a foreground of a meadow dotted with flowers. In molded 
gilt wood frame. 


From the Bois de Versailles and Roybet Collections, Paris. 


(Illustrated ) 


168 


“MASTER OF THE BATTLE OF ANGHIARI” (Circa 1440) 


Earzuy Frereentu Century FiorentinE SCHOOL 


822—CASSONE PAINTING: “A TRIUMPH OF A ‘CASA DE? PAZZI 
KNIGHT” 


Height, 1814 inches; width, 51% inches 


Entrance into Florence of a Knight of the “Casa de’ Pazzi,” a leading Floren- 
tine family, who for generations opposed the Medici family. In advance are 
attendants on horseback, blowing long trumpets, followed by a herald in full 
armor, with the arms of the Casa de’ Pazzi family on his tabard. Behind him 
are two youthful knights on horseback, one of them holding an umbrella-like 
canopy; behind these again rides, on a triumphal car drawn by white horses, the 
Knight seated, wearing armor and a peaked cap, and holding a commander’s 
baton. At the rear are soldiers with lances, one on a horse with a panoply 
embroidered with Florentine lilies. Behind are attendants holding aloft ewers 
and dishes as gifts to the city of Florence. On the right are the machicolated 
turrets of Florence, on the left a gabled building and, in the distance, a 
mountainous landscape. 


From the Marcuard Collection, Florence. 


Note: With this picture is sold a Florentine gilt and painted wood cassone, of later date, 
the front being paneled with this picture. Molded hinged lid, scrolled pilastered angles. 
Molded gadrooned base and paw feet. Decorated with leaf medallions on a quatrefoil 
diapered ground, with border of geometrical design, ‘The sides are paneled with painted 


portraits. 
Height, 3 feet, 8 inches; length, 7 feet; width, 2 feet 614, inches. 


(Illustrated ) 


FRANCESCO PESELLINO (1422-1457) 


Tuscan ScHoou or THE Earzty FirrerentH CENTURY 


823—CASSONE PICTURE 
Height, 161% inches; width, 53 inches. 


In the center, under a canopy, is seated a figure clothed in a dark robe with a 
hawk perched on one hand. In front of him stands a maiden with two attend- 
ants. On either side is a rocky landscape, with figures hunting and gathered 
round an open sarcophagus. Above and below are gilt bands of Florentine 
fleurs-de-lis and heraldic lions in pastiglia. 


From the Marcuard Collection, Florence. 


Note: Francesco Pesellino was a pupil of his grandfather Giuliano Pesello, and a fol- 
lower of Fra Angelico and Masaccio, but chiefly of Fra Lippo Lippi. With the picture is 
sold a Florentine gilt and painted wood cassone of later date, the front being paneled with 
Pesellino’s picture, the sides with two portraits painted on panels. 


Height, 3 feet 8 inches; length, 7 feet; width, 2 feet 41, inches. 
(Illustrated) 


. ne Si x 
? 4 Sy + 
g Ast a 
av a baie 
“BOTTICINI (15rn deans MAM coat 
oe Cextery Frorentine Senoos ; ue 


mt ‘ Tae, 


+ 


RecrancuLar ate with fetot ded’ oe oA i 
robe and blue mantle with gold-embroidered | bo r ler 
on a carved stone bench. She supports on her lap 

Christ, who poids one of as Mother’ s pea Bg ce 


EARLY FIFTEENTH CENTURY FLORENTINE SCHOOL 


825—MADONNA AND CHILD 
(Panel) 


Height, 39 inches; width, 20 inches 


Recrancuxar panel with pointed-arch top. Painted with a central figure of 
the Virgin in red robe and blue mantle, seated, and encircling with her left arm 
the standing draped figure of the Child Christ. In front kneel two saints, one 
with long gray beard and staff, the other in monk’s robe holding a floriated 
cross. Behind are two standing saints, one holding a book, the other a drawn 
sword. All with halos. Gilt background. In tabernacle frame with pointed 
crocketed-arch top, spirally twisted columnar pilasters and “ave MARIA” 
inscribed plinth. 


MANNER OF 
LIPPO LIPPI (1457-1508) 


FourtTEENtTH Century FLORENTINE ScHOOL 
827—“HOLY FAMILY” 
Diameter, 46 inches 


Crrcunar shape. Tondo, painted with a Holy Family. In the center is seated 
the Virgin with an expression of divine melancholy, dressed in a red robe and 
blue mantle. She holds with both hands, as though to prevent Him from fall- 
ing, the Child Christ, undraped save for a swaddling band. He leans forward 
to play with the cross held by the infant St. John the Baptist, who in a single 
camel’s hair garment stands below. At the back St. Joseph is seated reading, 
and at the left side two angels with folded hands are kneeling. All the figures 
have halos, that of the Christ being cruciform. Background, a mountainous 
landscape with buildings. In unusual gilt wood frame of the period, carved 
with fruits and flowers. 


PIER FRANCESCO FIORENTINO (151rH Century) 


828—VIRGIN AND CHILD 
(Panel) 


Height, 511% inches; width, 361% inches 


THREE-QUARTER-LENGTH figure of the Virgin with folded hands, adoring the 
undraped Child Christ, who reclines in front of her. The Virgin wears a red 
robe brocaded with gold, with tight-fitting sleeves, a blue mantle embroidered 
on the left shoulder with a gold star, a cambric head-covering and gold neck- 
lace with a quatrefoiled pearl and ruby pendant. She has a gilded halo and 
rays. The Child Christ is supported on a fringed linen napkin by two youthful 
angels in white robes, one with a halo, the other with peacock feather wings. 
Behind the figures are on one side palm trees, on the other cypresses, while in 
the background are seen in a wooded landscape the towers of San Miniato. In 
carved, painted and gilt tabernacolo frame with molded cornice and frieze 
painted with scrolls supported by fluted Corinthian capitals. Molded base 
and apron and plinth painted with two escutcheons charged with coats-of-arms 
and inscribed “ave MARIA GRATIA.” : 

Note: Concerning Pier Francesco Fiorentino, see the note to No. 815 in this catalogue, 
This picture, undoubtedly a work of the master, differs greatly from many other pictures 
attributed to him. The influence, for instance, of Benozzo-Gozzoli is shown very clearly in 
its landscape background, while the general design and technique are in the manner of the 
earlier painters, 


itt Ga a ray ( a \N nando 


AMBROGIO L INZETTI (1300(?)— circa 1348) 


FourtTEENTH CENTURY FLORENTINE SCHOOL 


829—TRIPTYCH 
(Panel) 


Height, 79 inches; width, 67 inches 


Center and wings with pointed Gothic arches and columnar pilasters with 
twisted shafts, plinths carved with Gothic tracery and shaped tops enclosing 
sunken trefoil medallions and surmounted by quatrefoil medallions, Center 
painted with a full-length figure of the Virgin, in red robe and blue mantle, 
seated on a marble throne and supporting the partially draped Child Christ, 
who sits on her left knee and reaches His right upward toward His Mother’s 
face. Wings painted with standing figures of saints, on the right St. John 
the Baptist, and on the left a local saint with the dagger of his martyrdom, All 
figures have halos. Gold background. Above the center in the trefoil medal- 
lion is a shield charged with the coat-of-arms of the Bigallo (a rooster, or 
“gallo”), on either side are scrolls, and in the medallions above, God the 
Father in the center, the angel Gabriel on the left side and the Madonna 
receiving the Annunciation on the right side. In original carved wood frame, 
regilt at later date, 


Note: This picture has a remarkable history. Painted by Lorenzetti for the Bigallo, the 
Foundling Hospital on the Piazza Duomo. When it came before the Government Board that 
its exportation might be justified, the direction of the Bargello recognized it at once as a 
picture stolen over one hundred years ago from the Bigallo, ‘This dictum was confirmed, but 
as the theft was outlawed by time its exportation was allowed and hence, from a private 
collection in Florence, it came into the hands of its present owner. ‘Though most experts are 
agreed it was painted by Lorenzetti, Professor Perkins attributes it to Mariotto da Nardo of 
Florence, and Seymour de Ricci to Daddi. The Bigallo, one of the oldest of Florentine 
institutions, was founded to care for abandoned orphans. Its collection of pictures is 
unrivaled, for nearly every great master, from Giotto onward, painted a votive offering for it. 

Lorenzetti appeared in Florence in 1822, where he practised medicine for some years. 
He was, says Vasari, “matricolate nell’ arte de’ medici e degli speziali.” (He was an adept 
in the art of medicine and its various branches.) His first picture was painted under the 
influence of Simone Martini, In 1835 he went to Siena to decorate the walls of the Della 
Scala Hospital. It may be noticed that this triptych closely resembles Lorenzetti’s Altar- 
piece now in the Siena Gallery, Venturi points out that Ambrogio was strongly influenced by 
his elder brother Pietro, and was even tinged with his faults, especially with his rendering 
of hands outstretched and with a disproportionate space between the fingers. Lorenzetti died 
in 1348, probably from the plague. 


OY 


VENETIAN SCHOOL 


Fourrerntu Century 


8380—PAIR OF PANELS 


(Panel) 
Height, 50 inches; width, 2914, inches 


Joep together and painted on both sides. One side ae the 
ures of St. John the Baptist in a camel’s hair garment, 
scroll, and of St. Jerome in ecclesiastical robes, holding 
incised gilt halos. The other side, with a subject of an. 
in one panel the figure of the Virgin in a blue mantle with | 
the other the er Gabriel besa ¢ ee ides 


under the influence of the Silene eae in mosaic. Dey 5 
mosaics of San Marco, Venice, and of Ravenna. 


amide WSF kei! 


ne 
ead 


ANDREA DI CIONE, cattep ORCAGNA (1808-1369) 


FourteEENtH CentuRY FLORENTINE SCHOOL 


831—PAIR OF PAINTINGS OF GROUPS OF SAINTS 
(Panel) 


Height, 56 inches; width, 32 inches. 


Recrancuiar shape, with rounded upper corners. One has for central figure 
St. Ambrose, with long beard and loose robe, holding in his left hand an open 
book with inscription in Lombardic characters. Behind him and at one side 
stand three other saints, one at the side, St. Stephen, in Deacon’s robes, holding 
a book in one hand, a palm branch in the other; one, St. Sebastian, holding 
the arrows of his martyrdom; and one, St. Bernard, in his white monk’s robe, 
holding a palm branch. All four have gilt halos. One shows in front the 
full-length figures of St. Peter, holding a book and a key, and of St. John the 
Baptist with an inscribed scroll and a cross. Behind are two minor saints, one 
with a tonsure, the other with long hair. All four have gilt halos. Back- 
grounds gilded and showing a Gothic pendentive and the start of two arches. 
One panel has an inscription across the bottom in Lombardic characters giving 
the artist’s name. In carved and gilt frames of late date. 

Note: Andrea di Cione was a sculptor and architect as well as a painter. Between 1350 
and 1357, in conjunction with his elder brother “Nardi,” he painted the frescoes in the 


Strozzi Chapel of the Church of Santa Maria Novella, Florence. A famous altarpiece by him 
is in the same chapel. 


J. F. SAYRE (1748-1823) 


Kigutrentu Century Eneuisn ScHoon 


832—“FEEDING CHICKENS” 
(Canvas) 


Height, 1914 inches; width, 15% imches 
Pair. In one a woman, in English peasant costume, scatters grain to chickens 
from a dish in her hand, while a child stands by. On the left a man leans from 
an open doorway. In the background is a garden and a stone obelisk and, in 
the foreground, a well with a bucket and a rooster. In the other, a man with 
apron holds with both hands a basket of food, at his back in an open doorway 
stands a woman, while an old man with peaked nightcap looks out of a window. 
On the right is a child seated and holding a puppy, on the left are peacocks, 
and in the foreground a hen. 
Signed in lower right hand corner. 
Note: From the manner of its technique this picture was evidently painted by an engraver, 
Sayre was a noted artist in mezzotint. 


(Illustrated) 


EIGHTEENTH CENTURY VENETIAN SCHOOL 
8383—THE SWEETHEARTS 
(Pastel) 
Height, 40\, inches; width, 81 inches 


Porrrair of a young man in a blue coat, striped vest and knee-breeches and 
cambric neckerchief, who has his 4rm around the waist of a young woman 
in a white dress with red and white plumes in her hair. Their faces are 
reflected in a mirror which the youth holds in his hand, and the maiden fondles 
a spaniel which rests its head on her knee. Landscape background, with a 
fountain and ruins, and blue sea with boats in distance. 


From the Zoubaloff Sale in Florence and old Simonetti Collection, Rome. 


\o0 


pie. 


seen a Roman Pagan building with hee arch in the Bre 
while behind rise the towers of a Gothic Cathedral. 


one is seen a group of Christian Gothic Baildates wie 


a Pagan Temple i in the ae Both have ne m) 


of the seventeenth ae EL His works are noted for ‘their 
resembles that of the modern school. Fs 


tr 


JEAN FRANCOIS DE TROY (1679-1752) 


FreNcH ScuHoon oF THE EIGHTEENTH CENTURY 


8385—--PORTRAIT OF A LADY 
(Canvas) 


Height, 40 inches; width, 29% inches 


SEATED figure of a lady in rose-colored bodice and skirt trimmed at opening 
of bodice and sleeves with lace. She wears pearl drop ear-rings, a flat straw 
hat trimmed with flowers and holds in her left hand a basket of flowers and in 
her right, her elbow resting on a stone pedestal, a black velvet mask. Tree 
with foliage on the left and blue background. In carved and gilt wood frame. 


FRENCH SCHOOL 


EIGHTEENTH CENTURY 


8386—PORTRAIT OF AN ADMIRAL 
(Canvas) 
inh eight, 35 inches; width, 251% inches 
STANDING figure, with long curling hair, in black coat, tight trousers, and white 
neckerchief. Standing regarding the spectator, with folded arms and holding 


a wide-brimmed black hat. In the distance are a harbor and the fortresses of 
a French seaport. 


837—“HOMAGE TO MOTHER” ~— 
(Canvas) 
Height, 76 inches; ete bhi 


hair and a red foe poniehed Pa os ce 
boy in a full-skirted coat of blue brocaded with 
tights, long boots and a medallion on a black | 


a group of flowers. In the foreground | is a ee I white 
Dark background. . 


From the old Simonetti Collection, Rome. 


A 


SIXTH AND LAST AFTERNOON’S SALE 
TUESDAY, APRIL 27, 1920 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.380 O'CLOCK 


CARVED WOOD OF THE FOURTEENTH, FIFTEENTH AND 
SIXTEENTH CENTURIES 


838—VENETIAN Carvepd, PaInrED anp Giitr Woop STaTvuETTE OF THE 
SIXTEENTH CENTURY 
Kneeling figure of the Virgin in red robe and dark green mantle, both 
diapered in gold, and gold hood. Her hands are clasped as though in 
the act of prayer. On semi-octagonal base. Painted and gilt. 


Height, 91%, inches. 


839—Tuscan Carvep, PaintEp anp Gitt Woop StTaTuErTTE OF THE FiIr- 
TEENTH CENTURY 
Half-length figure of the Virgin, in green robe with blue mantle and 
hood, having at her side the standing Child Christ, in red robe and blue 
mantle, His arm around His Mother’s neck. Painted and gilt. 


Height, 10 inches. 


840—Parm or Iranian Carvep, Gir anp Patnrep CANDLE-HOLDERS OF THE 
Kivereentu Crenrury 
Kigures of kneeling angels with loose robes and upstretched wings, 
holding with both hands baluster-shaped standards with molded bases 
ending in iron candle prickets. On octagonal molded bases. Painted in 
colors and gilt, 


From the Wilkins Collection, Ilorence. 


(Illustrated) 


841—Onp Keyrrian Carvep and Parntrrep Woop Priestess 
Figure of a mummified princess with feather head-dress, close-fitting cap 
and wig. Body painted with vertical panel of hieroglyphs. On ree- 


tangular pedestal, the sides painted with key pattern, 
ITeight, 25 inches, 


842—Onp Eeyprian Carvep ann Parnren Woop Figure 
Figure of a mummified king with beard, close-fitting cap, wig and feather 
head-dress. Body painted with reticulations and a vertical panel of 
hieroglyphs. On rectangular pedestal with rectangular depression, 


Height, 83 inches, 


843—Tuscan Carven Watnut Lectrern OF THE SIXTEENTH CENTURY 
Rectangular book-rest with pierced and carved scrolled cresting, molded 
cornice, voluted console brackets at side and shaped molded shelf, the 
center carved with a circular rayed medallion containing the Sacred 
Monogram (Crest of the Jesuits). Below is a carved and _ pierced 
scrolled bracket, a baluster-shaped stem carved with scrolls and rosettes 


and a rectangular molded pedestal. 
Height, 21 inches. 


(Illustrated) 


843 


840 


844—Pair or Frorentine Carvep, Painrep anp Grrr WoopEN ANGELS OF 
THE FirrEENTH CENTURY 
Figures of kneeling angels with loose robes and upstretched wings hold- 
ing baluster-shaped candlesticks. On octagonal molded pedestals. 


Height, 231/, inches. 
From the Wilkins Collection, Florence. 


(Illustrated) 


845—Fremish Carvep anv Pawwrep Woop Ficure or THE Firrernra 
CENTURY 

Full-length standing figure of St. Florian shown as knight in a suit of 

plate armor with gorget of chain mail, lapelled cap, red cloak and curling 

bushy hair. In one hand he holds the pail from which water issues in 

token of his miraculous extinguishment of a conflagration, while at his 

feet is the model of a building with a square campanile. On shaped base. 


Painted. 
Height, 27 inches, 


From the Galliegos Collection, Rome. 


(Illustrated) 


846—Pair or FLorENTINE Carved, PAINTED AND Gitt Woop ANGELS OF THE 
FirreentH CENTURY 

Figures of kneeling angels, with loose robes and outstretched wings, 

holding with both hands carved columnar candlesticks with iron prickets. 


On octagonal molded pedestals. 
Height, 12 inches. 


Note: These are exactly similar to those sold in the Bardini Sale of 1918, No. 249. 


(Illustrated ) 


847—Venetian Carvep, Painrep anp Git Woop StTaTuETTE or THE SIx- 
TEENTH CENTURY 

Standing figure of the Virgin, in red robe and blue mantle, patterned 

with scrollings in gold, holding on her left arm the undraped Child 

Christ, who holds in one hand an orb. On semi-octagonal molded base. 


Painted and gilt. 
Height, 144% inches. 


8$48—Vewrrian Carveo anv Girt Waunur Brackrer By JACOpoO SANSOVINO. 
SEVENTEENTH CENTURY 

Shaped molded top, supported at the sides by two caryatid figures of 

women, one holding a sheaf of flowers. In the center is the figure of a 

bearded man with one arm akimbo. Base and pendant carved with 

scrolled acanthus leaves. Carving heightened with gilding. Modeled by 


Jacopo Sansovino. 
Height, 19 inches; width, 17 inches. 


(Illustrated) 


849—Frencn Gornic Carveo Oax Buckrer or THE FourTEENTH CENTURY 
Rectangular shape. Carved, in high relief, with the seated figure of a 
chimera with human figure, claw feet, and grotesque head with open 


mouth. 
Height, 3 feet, 4 inches. 


848 


850—Pair or Fiemisn Carvep Oak Sratrvres oF THE SIXTEENTH CENTURY 


Standing figures of saints. One (St. Mary Magdalene) in loose robe 
holding a vase and cover, one a bearded man in tunic and cloak holding 


a drawn sword and a bag. 
Height, 36 inches. 
From the Wilkins Collection, Florence. 


851—Pair or Fiemisu Carvep Oax Srarvures oF THE SIXTEENTH CENTURY 


Figures of saints. One crowned and holding a sword and open book with 
a prostrate figure of a king at her feet, one with drawn sword and open 
book. 

Height, 36 inches. 
From the Wilkins Collection, Florence. 


"rare fe 


852-—Pair or Tuscan Carvep, PaInrep anp GILT Woon C 
or tHe Earty Firreenru Century ae heer 

Figures of kneeling angels with loose robes and cur 
with both hands, baluster-shaped acanthus-leaf carve 


From the Wilkins Collection, Florence. 


| (Illustrated) 


853—Norru Tranian Carvepn Boxwoopv B 
CENTURY 
Rectangular shape, carved with a subj 
round-arched opening kneel the Virgin and 

by the hand the undraped Child Christ 
folded hands. On either side are angels, 


The voussoirs of the arch are carved wil 
landscape with a river, a bridge, a castle 
ground of flowers and leaves. Some of ae 
bronze. 


Note: This important bas-relief was ie by a ‘North 
influence of Luca della Robbia. 


(Illustrated) 


tf 


68 


854—Carvep, Paintep AnD Gitt Woop Bas-REeLier or THE | 
Century sy Guino Mazroni 


Full-length figure of the Virgin, with loose red oie 
and hood heightened with gilding. She is ee 2 
of the Cross, with folded hands. 


From the old Simonetti Collection, Rome. 


(Illustrated) 


855—Parr or Tuscan Carved AND Gat Woon Tore oe 
SIXTEENTH CenTURY at 


leaves and floral fotoone cheaan ee ite 
terminations, triangular leaf-carved bases with 
paw feet. 


(Illustrated) 


ggs PSs ggs 


FIT TIA Be 


856—VENETIAN Carvep, Patnrep anp Gint Woop Bas-RELIEF OF THE LATE 
FirteentH CENTURY 
Figure of the Virgin in gold robes kneeling in adoration with the un- 
draped Child Christ lying below her at full length. Gilt background 
incised with a circular medallion diaper, and inner round arch supported 
by carved pilasters. In original tabernacle frame with arched pediment 
supported by fluted Corinthian columns, painted and gilt. 


Height, 2 feet 9, inches; width, 1 foot 9 inches, 


857—VENETIAN Carveb, Girt AND Paintep Woop CANDLE-HOLDERS OF THE 
SIXTEENTH CENTURY 

Full-length figures of standing Angels in loose robes, with outstretched 

wings and outstretched arms, holding fluted cornucopie which terminate 

in candle-sockets. On octagonal molded base. Painted in natural colors 


and gilt. 
Height, 3 feet 134 inches. 
(Illustrated) 


858—FLorEnTINE Painted AND GittT Woop StatTvuE oF THE FouRTEENTH 
CENTURY 
Votive-portrait of an owner of a castle as the Archangel Michael in a 
full suit of armor painted and gilt. His wings are outstretched and in 
his left hand he holds the painted model of the Castle with a Chapel 
within the walls, for which this figure was carved. 


Height, 534, inches. 
(Illustrated) 


898 


859-——Pisan Carvep AND Paryntep Woop Status or THE Earty FourtTEENTH 
CENTURY 


Full-length figure of the Virgin, crowned and in a red robe and blue 
mantle, seated with the Child Christ. His lower limbs wrapped in a fold 
of her mantle, seated on her right knee. In her left hand she holds the 
lower stem of a palm branch. Painted in distemper. 

Height, 41 inches. 


Note: This interesting example of the earliest school of Italian sculpture shows 
very plainly the Byzantine influence which was then dominant. 


ee Oy en ee 


860—Norru Iranian Carvep, Painrep ann Giur Woop Stature or THE 
SIXTEENTH CENTURY 


Standing figure of Saint Catherine, with long flowing hair. She wears 
a red robe diapered with scrollings in gold, white sleeves patterned with 
medallions and scrolled in red and gold, red mantle patterned with scroll- 
ings in gold lined with green and edged with a beaded border in red and 
green, a necklace of gold links with circular pendants and a crown. She 
holds in her left hand the handle of a sword and extends her right in 
front of her. At her feet crouches a bearded figure representing the 


Emperor Maximin. On circular molded base. 
Height, 441, inches. 


Standing full-length portrait of a Foren ae oa ong 

with flowing veil. She is dressed in a blue robe. brocaded 
leaves and scrolls in gold with a dotted pattern an 
the waist with a shaped and tasseled girdle and 
around the neck, white gathered as sleeves pat 
red-tasseled mantle brocaded with medallions of fic 
gold. With her left hand she holds a fold of her m 

open right hand in front of her. On rectangular na 


and gilt. 
(Illustrated ) 


a 
~ ae 


No. 861—FLORENTINE CARVED, PAINTED AND GILT WOOD STATUE OF THE 
SIXTEENTH CENTURY BY GAGGINI 


862—F emis Waunvr Bas-revier or THE Firreenru Cex 


, ce 
% ‘ 


Rectangular shape, carved with a subject of 
center is the undraped figure of the dead Ch 
of Arimathea. In front are the Virgin kneelin 
hands, and St. John standing, while at the back star 


From the Galliegos Collection, Rome. 


Note: Seftor Galliegos was a Spanish painter whose \ 
country. 5 ens : oe a a 
Raat} Illustrated) a ne 


cf 


AYUVOINGO HINGALAA FHL JO AdVIAU-SVa LONIVM HSINWTA—Z98 ‘ON 


863 


Fiemisn Carvep ANp Painrep Oak Bas-RELIEF AND FRAME OF THE 
SIXTEENTH CENTURY 

Rectangular shape, carved with a subject of a “Deposition.” In the 
center is the prostrate body of the dead Christ supported by kneeling 
Holy Women with the Virgin in the center with clasped hands flanked 
by two standing figures. Background painted with scrolls and label. In 
tabernacle frame with molded broken cornice, frieze carved with cheru- 
bim and pilasters carved with arabesques. Molded broken base. 


Height, 42 inches; width, 39%, inches. 


From the Wilkins Collection, Florence. 


STUCCO, TERRA-COTTA, PAPIER-MACHE, OF THE 
FIFTEENTH AND SIXTEENTH CENTURIES 


864—Tuscan PatntED aNd Gitt Srucco Bas-RELIEF OF THE FIFTEENTH 
CENTURY 

Rectangular-shaped tablet modeled with three-quarter-length standing 
figure of the Virgin, in red robe and dark green mantle and hood. She 
supports with both arms the standing undraped figure of the Child 
Christ, while two winged angels place a crown upon her head. In wooden 
tabernacolo frame with triangular pediment above, occupied by modeled 
figure of Christ rising from the Tomb. 


Height, 20 inches; width, 10% inches. 


865—Umerian Stucco Bas-reuer or tHE Firreenrn Century 
Modeled with the figure of the Virgin in red robe and blue mantle, 
standing and supporting the undraped Child Christ, who leans against 
His Mother. Two Angels above are crowning the Virgin. In original 
tabernacle frame with pointed pediment, the tympanum modeled with a 
Pieta of Christ rising from the tomb. 


Height, 1 foot 81%, inches; width 11%, inches 


866—VeENETIAN PapieR-MACHE AND Woop Bas-RELIEF OF THE FIFTEENTH 
CENTURY 


Round-arched papier-maché tablet modeled with kneeling figure of the 
Virgin, in robe and mantle, and with clasped hands adoring the Child 
Christ, who lies at full length on the fold of a mantle in front of her, 
with background of gold, lined and dotted in a diaper of circular rosetted 
medallions and enclosed in a molded, beaded and leaf-ornamented round- 
arched niche flanked by pilasters with shafts pierced and molded in a 
design of vases of flowers and leaves. T'abernacolo frame of wood, with 
molded and dentelled arched pediment, scrolled plinth and molded and 
carved cornice supported by fluted and astragalled composite pilasters 
on painted plinth, with remains of applied gilt carving on leaf-orna- 


mented base. 
Height, 33 inches; width, 21 inches. 


arm. In tabarmavolseee gee cat pai 
voluted and fan-shaped cresting and side 
scribed “AVE MARIA GRATIA P.” 


From the Ferroni Collection. 


tf 


No. 867—TUSCAN PAINTED PAPIER-MACHE BAS-RELIEF 
OF THE FIFTEENTH CENTURY 


a pip . 
~~ — a 


=e “er . ee — 


868—FLorRENTINE Stucco Bas-RELIEF OF THE SIXTEENTH CENTURY 


Rectangular tablet, modeled with the three-quarter-length seated figure 
of the Virgin, with red robe having light gathered sleeves and flowing ~ 
blue mantle and hood. She supports with both hands, on her left knee, # ee 
the undraped Child Christ and shelters Him with a fold of her mantle. ' 
In the upper left and right hand corners are winged cherubim in relief. 
In wooden frame. 


eT, 


Height, 221/, inches; width, 16 inches. oe . 


869—FLorENTINE Guazep TerraA-coTta Bas-RELIEF FROM THE Dexia Rorsta 
Borrreea. SIXTEENTH CENTURY 
Without background. Modeled with the half-figure of the Virgin, in 
buttoned robe and hood, standing and holding with both hands the un- 
draped standing figure of the Child Christ, who raises His head to press 
His cheek against that of His Mother. In old molded wood tabernacle 
frame with molded cornice, paneled pilasters and plain plinth. Faces 
and body in unglazed terra-cotta, with hair and dresses glazed in colors. 


Height, 191/, inches; width, 1314, inches. 


From the Wilkins Collection, Florence. 


870—VeneETIAN Coxnorep Paprer-MacHie Porrralr OF THE SIXTEENTH 
CENTURY 


Full-length figure of a Venetian patrician young woman seated upon a 
stone bench, with her head inclined to one side, reading. She wears a 
richly brocaded silk robe with a jeweled girdle and flowing sleeves, a 
close-fitting embroidered cap over her long hair. In one hand she holds 
an open book, while the other rests in her lap. 


871—FLorENTINE PaprerR-MACHE STATUETTE OF THE FIFTEENTH CENTURY 
Seated figure of the Virgin in red robe diapered in gold, and blue mantle 
and hood. She holds on her left knee the undraped figure of the Child 
Christ with upraised hands. On molded, octagonal base, painted and 
inscribed in gold “eccr aANcILLA Domint.” Painted and gilt. 


Height, 19%, inches. 


872—FLorenTINE Terra-cotta Bas-revier or THE Frrreenrn Century 
BY Lorenzo Guimerti (1381-1455) 
Half-length figure of the Virgin, with robe, mantle and hood, and head 
inclined to the left side, supporting with her right hand the Child Christ 
with curling hair, undraped save for a loose robe. 


Height of terra-cotta, 25 inches. 


Note: Ghiberti, who molded the famous panels for the door of the Baptistery of 
San Giovanni in Florence, has left so few undoubted productions that a piece such as 
this is of the utmost importance. 


S73—FLoRENTINE CoLoRED Wax Bas-RELIEF OF THE SIXTEENTH CENTURY 


Rectangular shape. Reproduction in colored wax of the picture by 
Raffaelli di Santo of the Sposalizio, or Marriage of the Virgin. In an 
elaborate frame modeled in wax with a border of twisted garlands on a 
black ground forming shuttle-shaped panels, occupied by portrait heads, 
in relief, of Italian painters of the fifteenth and sixteenth centuries. 


Height, 21 inches; width, 15 inches. 


Note: The Sposalizio was painted in 1504 for the Franciscans of the Citta del 
Castello and is now in the Brera Gallery of Milan. 


874—FLoreNnTINE CoLorepD Stucco Bas-RELIEF BY NEROocCcIO D1 BARTOLOMEO 
Lanpi. FirreentH CENTURY 

Rectangular shape. Modeled with the three-quarter-length figure of the 
Virgin, seated, in a red robe, blue mantle and hood, supporting with both 
hands the undraped Child Christ, who bends forward clasping His 
hands. In old carved and gilt wood tabernacle frame, with molded 
dentelled cornice, plain frieze, two columnar pilasters with shafts en- 
twined with leaves and carved capitals, plain plinth and molded base. 
Modeled by Neroccio di Bartolomeo Landi (1427—1500). 


Height, 30 inches; width, 27 inches. 


(Illustrated) 


875—Two SrexesE Terra-coTta Ficures oF THE FIFTEENTH CENTURY 


Standing figures of angels with loose robes, upturned faces and arms 
crossed over their breasts. Partly gilt. 


No. 874—STUCCO BY NEROCCIO DI BARTOLOMEO LANDI 


876—FLORENTINE TERRA-coTTtA ALTO-RELIEF OF THE FIFTEENTH CENTURY 
By ONE oF THE Dexia Ropsra Famity 


Circular shape. Modeled with the kneeling figure of the Virgin with 
folded hands, long flowing hair, robe, mantle and hood, adoring the un- 
draped Child Christ, who reclines in front of her with hands and feet 
upraised, supported by a kneeling angel. Beaded border. 


Diameter, 22 inches. 


T7—FLORENTINE CoLoRED Stucco BAs-RELIEF OF THE SIXTEENTH CENTURY 


Rectangular shape. Modeled with the standing figure of the Virgin in 
a red robe and blue mantle supporting the Child Christ, who stretches 
His right arm across His Mother’s breast. Above are three cherubim. 


In old molded and gilt wood frame. 
Height, 47 inches; width, 17%, inches. 


(Illustrated) 


878—-FLORENTINE Stucco BAs-REWIEF OF THE FirrEENtTH CENTURY BY 
Antonio Rossetiino (1427-1490) 


Rectangular tablet modeled, in low relief, with the three-quarter-length 
figure of the Virgin, in loose robe and hood, supporting with both hands 
the undraped standing Child Christ. He holds in his right hand a bird 
and raises His left in the act of benediction. Both Virgin and Child 
have halos. Background modeled with cloud forms with a four-winged 


cherub in the upper left-hand corner. 
Height, 42 inches; width, 25 inches. 


— 


1% 
: 
? 


tess 


2 


CONG gate = tei, 


age eS RNR tt no Naess 


Sa = 


ed 
ae 


TEENTH CENTURY 


x 


F THE SI 


EF O 


CO BAS-RELI 


1 


No. 877—STUC 


879—Parr or VENETIAN Canven anv Parep Woop Does or TH 
CENTURY We 


5 


Seated figure of dogs with collars studded en bosses and 
as though baying, Painted. ss 


From the Dal Zotto Collection, Venice, 


Note: Professor Dal Zotto was an eminent Ey ened sculptor 
noted throughout Italy, Dr, Bode often refers to this co 
Italian art. These dogs, which are very amieaa, were used as 


(Hllustrated) 


880—VENETIAN CARVED AND (Paryrep Woon 1 N 
CENTURY : Dae Ae 


Seated figure of an heraldic lion with cing 
Painted. 


From the Dal Zotto Collection, Venice. a 2: See 
Note: ‘This lion was used as a door en ‘ 


(Illustrated) 


PAINTINGS OF THE FOURTEENTH TO THE 
EIGHTEENTH CENTURY 


EARLY FIFTEENTH CENTURY VENETO-BYZANTINE SCHOOL 


881— SAINT GEORGE 
( Panel) 
Height, 14 inches; width, 11144 mches 
Sunsect of St. George of Cappadocia, in gold armor on a white horse, trans- 


fixing the dragon, who lies prostrate, with his spear. Landscape background 
and in the distance a castle. 


FIFTEENTH CENTURY NEAPOLITAN SCHOOL 


882—-CHRIST AND THE APOSTLES 
(Panel) 
Height, 784 inches; width, 67 inches 
In the center is a half-length figure of Our Saviour, with red mantle, with 
right hand raised in benediction and sphere in left hand. On either side are 


half-length figures of the Twelve Apostles, with Saints Peter and Paul on either 
side of the central figure. Painted in colors and gold on gold background. 


SIENESE SCHOOL 


FourtrENtH CEenrury 


883—VIRGIN ENTHRONED WITH SAINTS 
(Panel) 
Height, 171% inches; width, 814 inches 
In the center, the Virgin in red robe and green mantle and hood is seated on a 
throne supporting on her left knee the Child Christ in a red robe. On either 


side is the standing figure of a saint. All four figures have gold halos. Gold 
background. Molded, pointed arch with molded base and inscribed plinth. 


FLORENTINE SCHOOL 


FirrEENTH CENTURY 


884—VIRGIN IN ADORATION 
(Panel) 
Height, 201% inches; width, 16 inches 
Tue Virgin, in red robe and dark mantle, with gold halo, kneels in adoration 
of the Child Christ, who reclines undraped in front of her. On the left is St. 
Joseph with a halo, and in the background a pent-roofed shed with two shep- 


herds, a manger, a cow and a donkey. Blue sky and foreground of grass and 
flowers. In molded wooden frame. 


(Illustrated) 


FLORENTINE SCHOOL 


SIXTEENTH CENTURY 


885—HOLY FAMILY 
( Panel) 
Height, 27 inches; width, 21 inches 
Har-Lencru figure of the Virgin seated, in red over robe, blue skirt, cambric 
hood and neckerchief, holding in her right hand a book and with the left sup- 
porting the standing undraped figure of the Child Christ, who raises His right 
hand in the act of benediction. Behind is St. Joseph, shown as a bearded man 


of middle age. Drapery background, with glimpse of a landscape seen on 
the right. 


UMBRIAN SCHOOL 


PeRIoD OF PINTURICCHIO 


886—CRUCIFLXION 
( Panel) 


Height, 29 inches; width, 20 inches 


In the center is the Cross, with the figure of Christ with purple loin cloth, crown 
of thorns, and blood flowing from His wounds. On either side the Virgin, in 
red robe and purple mantle, and St. John, in red mantle. At the foot kneels 
Mary Magdalene in red. Landscape background with sun and moon, shown 
with human faces in the angles. 


ic NI TNR OM LE 


4 
ro 
A 
“ 
oy 
‘4 
7 
- 


FIFTEENTH CENTURY VENETIAN SCHOOL 


887—MADONNA AND CHILD 
( Panel) 
Height, 341% inches; width, 171% inches 


SEATED figure of the Virgin, in red robe and blue gold-bordered mantle, hold- 
ing on her lap the draped Child Christ, who rests one hand on His Mother’s 
breast as he suckles. Gold background, incised with a pointed rosetted arch 
with trefoil pendants. 


FIFTEENTH CENTURY SCHOOL 


888—MADONNA AND SAINTS 
(Panel) 
Height, 311% inches; width, 22 inches 


StanpinG figure of the Virgin, in red robe and blue mantle lined with white, 
holding the standing figure of the Child Christ dressed in a red tunic. On the 
left is St. Peter in a yellow robe, holding the key of his office, and on the right 
St. Mark in a red robe with pen in one hand and book in the other. All the fig- 
ures have incised gilt halos. Gold background. In painted and gilt, pointed- 
arch frame, the arch molded and carved with scrolled leaf and voluted crockets, 
pilasters with paneled shafts and molded base. 


SCHOOL OF SIENA: FOURTEENTH CENTURY 


889—-MADONNA AND CHILD, WITH ANGELS 
(Panel) 
Height, 45 inches; width, 191% inches 


Fur1-Lencrnu seated figure of the Virgin with fair hair, in red robe, and blue 
mantle semé with gold stars, holding on her right knee with both hands the 
Child Christ, in a reddish-colored tunic. Dado of a curtain diapered with a 
diamond-shaped pattern of birds with outstretched wings. Above, a back- 
ground of gold diapered with dotted scrolls and with two angels in blue robes 
holding a festoon of flowers above the head of the Virgin. In molded wood 
frame, with trefoil-arched top carved with Gothic tracery. 


PIETER NEEFS (1577-1661) 


FLEMISH SCHOOL OF THE SEVENTEENTH CENTURY 


890—INTERIOR OF AN ANTWERP CHURCH 
(Copper) 


Height, 6 inches; width, 9 inches 


View of the center and side aisles of a church with vaulted roof and pointed- 
arched windows filled with plain glass. At intervals are altars and pulpits, 
while figures of saints are hung at the springings of the arches. The pavement 
is tessellated in black and white and there are numerous figures in seventeenth 
century costume. Signed, to the lower left, on the base of a column “P. Neefs.” 
In old pierced, carved and gilt wood frame. 


Note: Neefs was the pupil of Hendrik Van Steenwyck. ‘The figures in his pictures were 
painted by F. Francken, Teniers and Velvet Brueghel. 


EARLY SIXTEENTH CENTURY FRENCH SCHOOL 


891— PORTRAIT OF A MAN 
(Panel) 


Height, 5 inches; width, 3°4 inches 


THREE-QUARTER-LENGTH portrait of a bearded middle-aged man. In a black 
robe with lace collar and cuffs. His hands are crossed in front of him, one 
turned upward and the other grasping a leather roll. In old molded and gilt 
wood frame. 


FLEMISH SCHOOL 


SEVENTEENTH CENTURY 


892—STILL LIFE 
(Canvas) 
Height, 24 inches; width, 31 inches 
Brive and white Delft platter standing on a table and heaped with opened 
hard-boiled eggs and chestnuts. At the sides are artichokes and peaches, in 


front a flower and two dead birds and behind a basket of fruits and flowers, a 
glass vase of flowers and a glass decanter of wine. Dark background. 


SCHOOL OF CAVALIERE GIANPAOLO PANINI (1695—1764) 


Rome: EigHTEENTH CENTURY 


893—PAIR OF VIEWS OF CLASSIC RUINS 
(Canvas) 
Height, 30 inches; width, 24% wmches 
One, a view of a ruined portico with fluted Ionic columns and fallen portion of 
a cornice and two seated figures in the foreground. In the middle distance is 
a group of figures. In the distance a rocky landscape with an arm of the 
sea, trees on the right. The other, a view of a ruined portico with Doric col- 
umns and a marble tablet in the center showing its brick core. In the fore- 
ground are three figures, one seated and, in the middle distance, a group of 


other figures. Landscape background with trees, a stream of water and 
buildings. In old carved, painted and gilt wood frames. 


FRANCIS WHEATLEY (1747—1801) 


ENGLISH SCHOOL OF THE EIGHTEENTH CENTURY 


894—_LANDSCAPE WITH FIGURES 
(Canvas) 
Height, 29\% inches; width, 38°4 inches 
On the right a flight of stone steps leading into a wood, having at the foot a 
young man and woman, the former in a blue coat, red knee-breeches, white 
stockings and white steeple-crowned hat; the latter, with her hand on the youth’s 


arm, in a white dress and carrying a long walking stick in her right hand. 
On the left are a waterfall and a rocky landscape. 


From the old Simonetti Collection, Rome. 


(Illustrated) 


ot AT DPI eae 


Los 
Eli PES tas ou 


WOU se 
i 6 


4 


SPastacss 


Ci. 


Malt i dali bth ll birba add sahil? ARMIES sid) ah ad PhAT SD enh he a5 
ecsaminonendnrenseiniiousendiie ; Aone 


CGD Pet: aot 
‘ Aho ahi Fis ait all LOD leaned dt Ah, She AA fi 
Marie Wee Umi i a Eni m ie Pot ned tate sia 


SCHOOL OF GIAMPOLO PANINI (1695-1764) 


Rome: EicHTEENTtTH CENTURY 


895—PAIR OF VIEWS OF CLASSIC RUINS 
(Canvas) 


Height, 30°4 imches; width, 251% inches 


One a view of a ruined portico with Doric columns and tablet in center showing 
brick core. In the foreground are three figures, one seated, and in the middle 
distance, a group of other figures. Landscape background with trees, a stream 
of water and buildings. The other, a view of a bay in a classic building with 
Doric columns, a round arch, two barred windows, and couchant animals on 
pedestals. In the foreground are two figures, in the middle distance others, 
Landscape background with stream of water, buildings and trees. 


EIGHTEENTH CENTURY FRENCH SCHOOL 


896—MAKING LOVE 
(Canvas) 


Pair. Rectangular shape. In one a soldier in dragoon’s uniform, with white 
wig and tricorne hat, walks through a wheat-field twirling his mustache and 
looking down at a young woman with bouffant skirts who walks at his side 
hanging on his arm. In one the same soldier turns disdainfully away from 
the same young woman, who loops her arms around his neck and looks up 
imploringly. In eighteenth century Venetian glass frames with beveled sides 
decorated, in gold, with voluted acanthus leaves at the angles and scrolled 
figures with egg-shaped medallions at the side. 


(Illustrated) 


+} 


A 


ba 
Ke Ae ms 


ee Syke Bly Oe BIL Sas Et oem SR a) AE 2 Dee 


ee he a 


FRENCH SCHOOL OF THE SIXTEENTH CENTURY 


897—-PORTRAIT OF M. GODRAN, PRESIDENT OF THE SOCIETY 
OF JESUS 


(Panel) 
_ Height, 45 inches; width, 20 inches 


THREE-QUARTER-LENGTH portrait of a young man with fair mustache and thin 
beard, wearing a flat velvet cap, a cambric ruff, white fur collar and red velvet 
coat lined with black. Over one shoulder is thrown a white fur mantle. He 
stands, resting his left hand on a circular table on which is a jewel casket 
mounted, in gold, with fleurs-de-lis, and a circular leather seal box. In his 
right hand he holds a folded paper. Above, in the upper right-hand corner, 
is a shield charged with a coat-of-arms supported by two roosters, surmounted 
by a helmet with a crest of a bird’s head and mantled with ermine. Below this 
is the inscription in Latin characters: “M. GODRAN, PRESIDENT FONDATEUR DES 
JESUITES EN 1581.” Gray background. In a contemporary carved, molded, 
painted and gilt wood frame with molded cornice supported by cylindrical 
detached pilasters with fluted and acanthus-leaf carved capitals and acanthus- 
leaf carved bases. 


(Illustrated) 


ENGLISH SCHOOL 


SEVENTEENTH CENTURY 


898—PORTRAIT OF A MOTHER AND SON 
(Canvas) 
Height, 40% inches; width, 30 inches 


THREE-QUARTER-LENGTH Standing figure of a lady, in blue silk dress of the sev- 
enteenth century with silk ruffles at the neck and wrists and a band of brocaded 
silk ribbon. She wears a heart-shaped locket on a gold chain and a wide- 
brimmed Leghorn straw hat trimmed with feathers, plumes and flowers, while 
her right arm is around the body of a child seated on her right, dressed in a 
skeleton suit of white, holding aloft in one hand a rose and with the other 
extending a cluster of cherries to his mother who receives them in her left hand. 
Brownish yellow background. 


From the old Simonetti Collection, Rome. 


(Illustrated) 


FRANZ SANDERS (Otup Copy or) 


FLEMIsH SCHOOL OF THE SEVENTEENTH CENTURY 


899—-THE BEAR HUNT 


Height, 35 inches; width, 52% inches 


Two bears, one standing erect, the other on all fours, are being attacked by 
a group of savage hounds. In the center a dog is lying in agony upon his 
back with his legs in the air. On the right, the bear on all fours is savagely 
biting at his assailants, while on the left the other bear stands, grasping one 
of the dogs in his front paws. Rocky landscape with trees and a cloudy sky. 


Note: Very fine copy, made in early eighteenth century. 


ARCHAIC GREEK, ROMAN, EGYPTIAN, ITALIAN 
AND OTHER MARBLES 


900—ArcHaic GreEK Marsie Heap or THe Firtnx Cenrury B.C. 
Head of a warrior with beard. He wears a close-fitting helmet with 
nose-piece and ear protectors. On rectangular wooden pedestal. 


Height of marble, 11 inches. 
(Illustrated) 


901—GreeEk Limestone Heap or THE FourtH CrEntTury B.C. 


An Athlete. Head of a clean-shaven youth with closely curling hair, 
wearing a wreath of laurel leaves, On rectangular wooden pedestal. 


Height of marble, 11 inches. 


Note: This head, which is characteristic of the best period of Greek sculpture, was 
dug up on the Island of Melos. 


(Illustrated) 


902—Roman Stone Heap or Warrior oF THE THrrp Century B.C. 


Head of clean-shaven youthful warrior with long hair and wearing a 
Minerva helmet crested with figure of winged Greek sphinx. Excavated 


in Greek island. 
Height, 15 inches. 


(Illustrated) 


903—Roman Marsrie Heap 


Portrait of the Emperor Hadrian. From a colossal Pentelic marble 


statue. 
Height, 1314, inches. 


902 


901 


900 


904—Grerek Arcuaic Marsie Heap or tHe Fourtu Century B.C. 


Pentelic marble double heads of bearded men with wavy hair. Symbolic 


of the two Rivers Xephissos and Ilissos. 
Height, 15 inches. 


905—Roman Marsie Heap oF THE First Century B.C. 
Head of a bearded man, with curling hair. Probably a portrait of a 


Philosopher. 
Height, 18 inches. 


906—Grerek Arcuatc Stone Heap or tHe Firru Cenrury B.C. 


Head of a monarch with conventionally curled beard and hair and 
drooping mustache. His head is crowned with a laurel wreath. 


Height, 15%, inches. 


907—Eeyrrian Granite Heap 
Head of a colossal statue of a king in rose-colored granite. Clean-shaven 


face with close-fitting banded cap. 
Height, 13 inches, 


(Illustrated ) 


908-—Fiorentine Limestone Murat TasLeT oF THE SIXTEENTH CENTURY 
Rectangular shape, with pointed molded pediment supported by pilasters 
carved with acanthus scrolls. The body of the tablet is occupied by an 
escutcheon carved in relief, charged with the coat-of-arms of a belled 
feather surmounted by a helmet and crest of a rearing dragon and 
mantled with scrolled acanthus leaves. The tympanum of the pediment 
is occupied by a subject carved in low relief of the Virgin kneeling in 
adoration of the Child Christ, who reclines at full length before her. 
Above Him are two cherubim. At the side of the Virgin are St. Joseph 
and angels. Plain plinth flanked by two dies. 


Height, 25 inches; width, 12 inches. 
(Illustrated ) 


909—FLorENTINE Limestone Murat Taster or THE FourreentH CenTury 
Rectangular shape. Carved in the form of an heraldic escutcheon 
charged with the coat-of-arms, consisting of an eagle’s claw and wing 
carved in relief, of Dante Alighieri (1265—1821). 


Height, 1814, inches; width, 13 inches. 


Note: This piece is of peculiar interest. The only other known stone coat-of-arms 
of Dante is now in the Dante House in Florence. This particular piece came from 
Ravenna, where Dante died. 


(Illustrated) 


908 909 


907 


910—Pisan Gornic Limestone CapiraL oF THE FouRTEENTH Cex 
Octagonal shape, carved with the standing figures of saints unde 

pies of Gothic quatrefoil tracery. Molded abacus and necking. — 
Height, 15 inches; diameter . 

(Illustrated ) rere.) 


911—FLorentine “Prerra SerENA” (Grey SEONE) Taster | 
TEENTH CENTURY ; wae 
Rectangular shape. Carved in sunken relief ae cin 
occupied by Agnus Dei and surrounded by four circular » 
emblems of the four evangelists. Below is a circular 
figure of a soul shown as a young child, rising out of a be 


Note: This central medallion contained the arms of the . 
workers’ Guild, of Florence, in whose honor the ee fas 
in place. 


y 


912—Greco-Roman MarsLe STATUETTE OF 
tury A.D. 
V enus. Shown as the seni figure of a 


913—Frencu Gornic ILE pE FrANcE P 
rHe FirvrEENTH Venter 


an open book, while m right cas | 
with traces of color. 


(Ittustrated) ae 


oy 


> 


Taeeties 4 


Rectangular shaped Eeiletse modeled with the Sees 
One a “Youthful St. John the Baptist,” with cross can 
label. He has long hair and wears a camel’s hair tunic 

Mary Magdalene,” shown as a beautiful young woman \ 
of curling hair. At her side is the jar of ointment. 
gilded frames carved with shells and husk festoons. — 


From the Wilkins Collection, Florence. — 
(Illustrated) 


eer e er, 


- $ M ‘ 
arg Njoani as : SAG FS g JS: a ett! 
Sw eee el 

a 


a 


. 


Dee ee Oe 2 ee oe ee ee ee ee ae oe oe ee ee oe 


Mi 4 
; 
) 
é 


oes 
a 


ae, 


———S 


wo 


ee 


? ea = 


/ 


leenad ead 


‘ Ps 


i’ 


No, 914—PAIR OF FLORENTINE FIESOLE STONE BAS-RELIEFS OF THE SIXTEENTH CENTURY 


915—Par or VENETIAN GorHic STONE Lions | or THE 
CENTURY 

Seated figures of grotesque lions with een “mouths: 

tongues. Rectangular’ bases. 


From the Dal Zotto Collection, Venice. ae 
(Illustrated) 


916—Roman Marsie Tasie or THE SEconp Gade 


Circular top of black and red porphyry. — Stem 
head, leg and paw. On a rectangular moles lps 


| (Illustrated) 


S16 S16 


eenaghine fies 


From the old Simonetti Collect ee 


918—Pair oF Roman Porruyry Cope EA : 


Cylindrical columns with marked entasis 8 and | : 
excavation of a Roman monument. — roe 


x 


ae 


918 


suey 


918 


919—Roman Marsie CANDLESTICK OF THE SEcoND CENTURY B.C. 
Tapering cylindrical shaft of Pentelic marble spirally fluted and 
with acanthus leaves, fluted coupe-shaped bowl and bulbous ac 
leaf carved base. Triangular base with incurved sides carved 


relief with scrolls and flowers. Excavated at Rome. 


From the old Simonetti Collection, Rome. 


920—Umearian Goruic Marsite Hoty Water Bow. or tHE Earty Fir- 
TEENTH CENTURY 
Baluster-shaped and square standard carved with scrolled leaves, a mask 
and a Putto. Molded circular basin, carved with cherubim at the rim, 
and quatrefoil base carved with lions’ heads and paws. 


Height, 4 feet 21% inches. 


921—VENETIAN Gotuic “FLOREALE” STONE AND WrovuGHT-IRON WELL-HEAD 
OF THE FIFTEENTH CENTURY 


Capital-shaped head of white marble, hollowed and with rectangular 
abacus, molded and carved with ribboned band of laurel leaves. Voluted, 
scrolled acanthus leaves at angles, with scrolled leaves below resembling 
those in the Cathedral of San Marco. Low-relief carvings between of 
fluted vases of flowers with dolphin handles; on one side these are replaced 
by a youthful angel holding a wreath of banded laurel leaves enclosing 
a shield charged with the arms of the family of the Duke of Soranzo of 
Venice. Below is an octagonal base carved with circular depressions, 
and above the original arch of a wrought-iron bar, with leaves and a 
scrolled and voluted finial supporting, by a chain passing over an iron 
pulley, the original iron bucket. 


Height, 3 feet 5 inches; diameter of base, 5 feet 8Y% inches. 


From the Dal Zotto Collection, Venice. 


Note: This exceedingly beautiful example, which has often been illustrated, is 
interesting. Early in the fifteenth century the Council of Ten of Venice passed an 
ordinance providing that all wells should have cuplike depressions hollowed out in their 
bases and kept filled with water, so that the birds, and in especial the pigeons, should 
be able to drink at all times. The Duke of Soranzo was the head of a great Venetian 
family like that of the Mocenigo. 


(Illustrated) 


No. 9221—VENETIAN GOTHIC “FLOREALE” STONE AND WROUGHT-IRON 
WELL-HEAD OF THE FIFTEENTH CENTURY 


TEENTH CENTURY 
Molded cornice carved with bead-and-reel, egg-and- -dart and beaded orna-_ 
ments, frieze carved with banded acanthus leaves, molded architrave 
carved with two flying Amorini holding an escutcheon charged with: a 
coat-of-arms. 


From the celebrated Ferroni Collection, Rome. 


Note: The cornice and frieze of this doorway are evidently of old Roman work- 
manship from an excavation of Renaissance times and were so much admired by a 
Florentine artist that he added the architrave. 


SRT ROR RRL TS LOTT ee RPE 


OREO PPFEPIFIF VIVO SD 


Pieeiiine 


923—FiesoLe Stone CHIMNEYPIECE OF THE FirrEENTH CENTURY BY BENE- 
pETTO DA Marano . 

Rectangular shape, with molded cornice dentelled and carved with beads 
and egg-and-dart ornament. Frieze carved in the center with a panel of 
two flying Amorini holding a wreath occupied by an escutcheon charged 
with a coat-of-arms, flanked by flaming vases. Below is a band of shells, 
radiating leaves and scrolls. Side supports, with console-shaped egg- 
and-dart carved brackets and pilasters with shafts carved with clustered 
pine-cones and fruits, springing from classic vases. 


Height, 4 feet 10%, inches; length, 8 feet 1014, inches. 


From the Prof. L. Grassi Collection, Florence. 


924—Venerian Isrrtan Stone CHIMNEYPIECE OF THE SIXTEENTH CENTURY 
Molded and carved cornice, with frieze carved in the center with an 
ovolo-shaped escutcheon charged with a patrician coat-of-arms flanked 
by panels carved with cornucopia, dolphins and figures divided by florally 
carved panels. Supported by fluted curved brackets with paw feet. Side 

with carved panels. 
Height, 6 feet 7 inches; width, 8 feet. 


925—Iraniaxn “Porta SANTA” STONE CHIMNEYPIECE OF THE LATE SIXTEENTH 
CENTURY 
Rectangular molded frame. Remarkable for its architectural simplicity 
and distinction. 
Width, 8 feet 2 inches. 


~ 
n 


926—Venetian Isrrian Srone CuimMNeypiece oF THE Earty SIXTEENTH 
CENTURY 
Molded cornice, with frieze carved with fluted and voluted modillion- 
shaped brackets having in the center a scrolled oval escutcheon charged 
with a coat-of-arms flanked by panels of trophies, supported by female 
faun caryatids resting on bearded masks and rectangular pedestals. 


Height, 9 feet 2 inches; width, 8 feet 9 inches. 


927—Venetian Gornic Trerra-corra Cotumns or THE Karty FirrrentH 
CENTURY 
Terra-cotta side supports of a wooden chimneypiece. Columns of banded 
leaves and fruits with a Latin inscription on spiral bands. Gothic leaf 
capitals. 
Height, 4 feet 1% inches. 


AMERICAN ART ASSOCIATION, 


MANAGERS. 
THOMAS E. KIRBY, 


AUCTIONEER. 


INTELLIGENT APPRAISALS 
FOR 
UNITED STATES AND STATE TAX 


INSURANCE AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


APPRAISEMENTS AND INVENTORIES 


OF 


ART PROPERTY, BOOKS, MANUSCRIPTS, JEWELS 
AND PERSONAL EFFECTS OF 
EVERY DESCRIPTION 


AT CHARGES COMMENSURATE 
WITH THE DUTIES INVOLVED 


THE AMERICAN ART ASSOCIATION 
MADISON SQUARE SOUTH 


NEW YORK 
TELEPHONE, 3346 GRAMERCY 


At SA EELIRE: 


COMPOSITION, PRESSWORK 


AND BINDING BY 


\ 


\ 


AV see eVesuvun Naw waee 


Ja ewe See aittus ~: 
with painted doors from Chambery. Tabk 
and chairs are here in great number, som 
iof the former of unusual size“and™beaut. 
‘such as a ‘noble Priory table of wunusu: 
proportions, and one. elaborately carve 
with Dolphins. Of the chairs, there 

every desirable size and character, includin 
almost unattainable Dantesca and Savoi 
arola as well as Florentine arm chairs, co 
ered with Petit Point and embroider. 


1 


SIGNOR RAOUL TOLENTINO 


The present art season, which has been! 
one of varying fortunes; will draw towards 
its close next "week, somewhat -spectacu-, 
larly, with a sale of Italian works of art, 
and furniture, by all odds the most import- 
ant offering that has been made this year 
at the. American Art Galleries, where it 
will be dispersed by Mr. Thomas E. Kirby 
on the afternoons of April 21-24 inclusive, 
and those of April 26-27, with an evening 
session, for the pictures, in the Plaza Ball- 
room, April 23. 


reasons. In the first. place, Signor Raoul 
Tolentino, whose collection-is -to. be~- dis- 
persed, is a dealer well known to the com- 
munity, due to his many years of residence. 
here, during which he succeeded in placing 
himself in an enviable position, while in the, 
second place the collection is the outcome; 
of much patient effort and of a vast amount. 
of knowledge on the part of the collector. 
Apart from all this, the increasing interest 
in Italian furniture, pictures, bas-reliefs and’ 
works of Renaissance Art in general, will 


Choir stalls,~desks and Lecterns are alg 
to be founds ~ =". * 0353 
_ The wrought iron .is of especial intere. 
in these days, when it is so difficult to fir 
fine examples of undoubted authenticit 
There are many Torcheres, a set of bea; 
tiful Convent jalousies, wash basins, ar 
a marvelous wrought iron bed, with on 
one similar, as far as is known, in th 
country. Among the stones and marbl: 
are several mantelpieces. by well-knov 
sculptors, an Architrave or doorway, a1 
one of the noblest Well heads that has bec 
imported. It comes from Venice, has i 
original ~wrought iron superstructure, a1 


the depréssions inthe base. ordered ‘by ti 


Council of the Ten, for the benefit of t 
birds and pigeons which, even in the 15 
century, were a feature of Venetian life. 
Some Notable Pictures 

The pictures are of extraordinary impo: 
ance. Here, for instance, may be found : 
exceptionally fine example of Pier Fra 
cesco Fiorentini; a Madonna with the tow 
of San Mininto in the background, a sign 
Margharitone d‘Arezzo, the famous Biga’ 


. Triptych ‘by Ambrogio Lorenzetti, a M 


donna by Gianbono, that formerly hung 
the room of the Poet-Soldier d’Annunz 
and a multitude of primitives with gc 


| backgrounds. : 
The sale will be a notable one for many: 


The stucco bas-reliefs have, among the 
five examples of Donatello, four of whi 
come from the old Bardini collection, 
well as works by Ferrucci, da Maiano a 
Rossellino, while the glazed’ terra cott 
modeled by members of the Della Rob! 
family, are of prime import. Here is 
lovely tablet by Andre della Robbia, a 
a bust of the Saviour by Giovanni, in 1 
manner of Verrocehio, acquired from 1 
Marquis Viviani, the last surviving mem] 
of the Della Robbia family. The Bron; 
are excellent, among them at least t 


materially help to make the sale one of the' pieces by Riccio and a fine series of bu 


season’s leading events. 

Two things are especially-to be noted 
concerning: the collection, first that the 
genuineness of the articles, offered for sale, 
is beyond any cavil or question, as most 
of them are absolutely in their original con- 
dition, and seggnd, that the selection has 
been so wisely ‘made that no particular class 
of objects is- favored at the expense of 
others. Thus, those who find an interest 
in furniture will be equally attracted, with 
those whose acquisitive desires lead them 
to the consideration of. pictures, stuccos, 
wrought iron or textiles. ; 

Thus those whose inclination leads them 
to furniture will find distinguished Cassone, 
one with its front painted by Pesellino, and 
one in carved walnut designed by Michael 
Angelo. There are cabinets Tuscan and 
T.igurian, one with the arms of the Aligheri 
family, of which Dante was a member, one 
cf the Amatorio type, and several, including 


i by Tosca. e T 
‘in themselves, with such tapestries as 1 
| exquisite set of three panels from the f. 


The Textiles form an exhibiti 


tory known as the “Vieux Paris,” 15th c 
tury Flemish weaves, many yards of velv 
and brocatelles, and a number of cut velv 
and embroidered covers, while especiz 
noteworthy. are the majolicas, which inch 
examples from the kilns of Semta, Cap. 
x Ole, Faenza and Castelli. Doubtless 

many the gem of the entire collection 1 
-be the Henri IV Dining Room, with 

carved chimney pieces, and Bahut, and 

Knights in armor, removed en bloc fr 
the historic Chateau de Rosny, near Pa 
as also the 16th century Library, also tal 
in its entirety from the Medicean Palace 
Marradi, near Florence. 

Finally it may be said that this extrao1 
nary collection has been cataloged by ° 
Horace Townsend and has foreword hy 
Seymour de Ricci. 


7) oe 


ae Ts oe a a 


ee 


TOLENTINO ART SALE 


The first session of the Tolentino sale of 
early Italian and other art objects at the 
American Art Galleries, Apr. 21 last, as 
recorded in last week’s ‘Art News brought 
a total of $35,467. The second session Apr. 
22 aft. had a total of $25,066. The top price 
at this session, or $1,440, was paid by Cal- 
darazzo and Co. for 12, 11 in. high bronze 
busts of Roman .Emperors from Julius 
Caesar to Caracalla inclusive, by Pietro 
Tacca from the Prince Barberini’s collec-' 
tion. To the same buyers went No. -223, a 
pair of Tuscan gilt and painted iron ban- 
ner holders XV, C, for $440. No, 279, an 
archaic Greek bronze statuette, the figure 
of “Paris,” went to Caldarazzo & Co. for 
$625, and No. 290, a pair of Florentine 
ronze XVI, C, equestrian statuettes of King 
Philip IV, of Spain on rearing horses, to 
the same buyers for $1.050. A pair of 
Florentine bronze statuettes, “Peace” and 
“War,” by Jacopo Tatti, No. 291, went to 
G. Bestionsl for $1,200, and to the_same 
buyer No. 292, another bronze statuette by 
the same seulptor, “Dancing,” the figure of 
a young woman, for $1. 25, 

George Grey Barnard was again a pure 
chaser, paying $525 for No. 262, a French 
gilt and bronze reliquary (XIV, ¢); ia. 224, 
a pair of Sienese stone and wrought iron 
standard bearers early XV, c., went to W. 
R. Hearst for $500;" No. 227, a French 
Gothic wrought iron lock plate (early XIV, 
C.to Otto Bernet, agent, for $850; a Paduan — 
bronze inkstand by Andrea Briosco (called 
for No. 235, went to E. Peffercorn , 
for $: 60, and to ‘the same aha No, 275, 


knepling figure ‘of a Satyr. 

In the French fee es enamels a gilt 
bronze pricket Be (XIV c) No. 256 
went to Mme, Keller for $440; a French , 
silver and rock crystal reliquary of XV, Cc, 
No. 261, to F. Baumeister for $525; a pair 
of Tuscan bronze candlesticks, late XV. ¢., 
No, 267, to Seaman agent, for $550, and T. 
Brummer paid $500. for No. 269, a French 
Gothic wrought iron church’ knocker, 
(XV. c.). ' 4 

The feature of the session of April 24 
was the sale of a Henri Quatre ac | room 
from the Chateau de Rosny which fetched 
$25,000, and the total for the four sessions 


was thus raised to $246,629. It is interesting | ® 


to recall that this famous chateau, hen 


ron screen, etc. Other at prices were: 
Yo, 460—Five 16C. Florentine Miaka hereaday 
SCQMAn) GEby cuccecesrgaveersgennes 
No. 461—Two 16C, Florentine 
GRRE DUVE gos cues caves c cen enses 
So. — 17C. Florentine sees H. 
VP Dawes ope cccccccsvscaseesanivs 
So. 468—A 17C, French Bergere done in petit 
point, 1,950 and No, 469, a similar 
chair, both lots, Otto Bernet, agt.. 
‘o. 583—Corner of the Medici library, 16C. 
Keller & Co, 
so, 561—Cabinet by Jean Goujon, 
berger galleries 
fo, 570 and 570a—Two sets of early 15C. 
Tuscan Gothic choir chairs, E, Peffer- 
corn 


$1,800 
$1,500 
$1,320 


$2,500 
"$4,250 
"$2,000 


$3,600 


The sales of Apr. 26 aft. and eve. sessions, 

rought $101,891 and $89,635, swinging the 
otal to that date to $438,161. The top 
rice of the aft. session was $18,500 paid by 
caman, agt., for a set of three “vieux 
’aris” silk and gold mole tapestries. The 
apestries cataloged as No. 752 were ‘“Re- 
ecca at the well,” “Return of the Prodigal” 
nd the “Vision of Zacharias” and these 
stched respectively $6,500, $7,000 and $5,000, 
nother high figure was brought by an En- 
hien verdure tapestry, early 16C., which 
ent to W. H. Harding for $5,000. Three 
rts of Genoese velvet, over 200 yds., fell 
» F. W. French & Co. for $9,562.49, 


An Evening Session 
The evening session in the Plaza Ball- 
som, Monday, Apr. 26 was fairly well at- 
nded, The Textiles, art objects and pic- 
ires sold with artists, titles, buyers and 
tices follow: 
6—della Quercia, J., Carved painted wood 
statue, XV C., height 20 in, W. R. 
FCarSt we cwscccccsccccccreacevessecs 
7—della Quercia, J., Tuscan carved painted ' 
wood statue, XV C., 40 in., Leon Ricci. 
8—della Quercia, be Sienese carved Painted 
wood ‘statue, Early XV C., 41 in, W. 
Rep RIB AUEE Ma dele isis e veto's vv cre cisies ti shia vee 
9—della Robbia, G., Pair Florentine glazed 
terra cotta bas-reliefs, 33x16, Seaman.. 
0—da Maiano, B., Venetian painted and gilt 
alto-relief, XV C., 25x18, 
i—Rossellino, Florentine stucco statuette, 
XV C., height 27%, W. R. Hearst..... 
2—Rossellino, Florentine colored terra cotta 
statuette, XV C., length 21 in., 
RCIERUBET wins wiaiveie leiniw 0 vivisie.s uns tinule ma 
3—Sansovino, J., Venetian colored stucco 
group, C., height 19 in., Ruth 
SROEGRICT | occu bieleicsd.o.e coe isitislsivbey aaa y 
j—della Robbia, G., Florentine glazed terra 
cotta group, C., height 33 in, 
SERMART n eis ieinieg yesh cna s Aw DES pe RS 
j—Mantova, S. , Colored stucco bas- 
relief, XV C.. 201%4x13, Seaman 
j—della Ouercia, ye , emaghrl stucco figure, 
XV C., 30x22%, S Soman fan utasselare wad 
A., Florentine terra cotta bas- 
XV C., height 25 in, W. R. 


Flor- 


i Baseline, 
ree 


rst 
AOE pevias della Cappella Pellegrini, 


entine colored terra cotta bas-relief, 

AV C,, 34x29, BE. Fletcher wewcsecscees 375 
779—Verrocchio, A., Florentine terra cotta 

bas-reliet, XV C., 23x17, W. R. Hearst.*» 950 
780—Michelozzi, M., Florentine wax bas-relief, 

XV C., 277x193, E, Fletcher 22 sc.cs.es 775 
781—Settignano, D, da, Florentine colored 

stucco bas-relief, XV C., 31x19, Seaman 950 
782—Rossellino,’ Florentine colored stucco bas- 

relief, XV C., 22x14%, Seaman........ 425 
783—Fiesole, M. da, Blossifina papier-mache 

bas-relief, XY C., 42x36, P. W. French 

Be Cay carver vies ve0 Codes pecdonsseguesas 700 


784—Donatello, Florentine colored . stucco bas- 
relief, XV C., 32x32, P, W. French & Co. 4,900 
785—Donatello Florentine colored stucco bas- 


relief, xv C., 30x22, Leon Ricci....... 2,300 
786—Donatello Florentine terra cotta bas-re- 

lief, 4734x28, XV C., Leon Ricci....,.. ,700 
787—Donatello Florentine colored  papler- 

mache, bas- relief, XV C., 48x33%, G, 

or DUPRERE. Vg sag Seeaw nikiebiia eet oes meee 290 
788—Donatello, Wooden Florentine Offertory- 

mee with stucco bas-relief, XV C., 

27 4x93. Leon, Riggl ...ccsceccrsceecs 800 
789—Maianc, B, da Florentine golored stucco ‘ 
bas-relief, XV C, 43x39, P. W, French 

& Co; s.s6.; 6 Gucvegeeuesesesectees }, 900 
790—della Rebbia; G Florentine cies terra’? '4 


ety yt Saeed ‘® we » Apri? Sea- 


4,500 
791—della PR otia i renti e er: eed 
Har and woode! ‘ie “Rlgtss ine’ Ril % RE <p 


799-—delia Bobbin, “a. Pair Flareatine glazed . 
terra aye portrait medallions, XVI ¢,, 


in. ks BROSSOD. Scie ES RRP AO wee ree 2,050 
793-—Afalano, B. da, dot ara a colored: stucco’) 
bassrelie, Tanda. 89%, Berart, ‘s 
794—dells Robbiay’ G pom gid ge us 
ot Mg ri 1469-152 7, 22 ih., ny J ie: 5,200 
a: Rebbia, A.,: Piscean: sased terra ‘~~ 
Cot neta Chexgh! a 
796—R ri oo 
ue an eae gol 


Hee eal 4G 
Pee Sci. “della Cosptile “Pollegrinis: TBlor- Ct 
sptine ore Five has-retief,. XV.y5 O52 


2834x15 
798—dalt quil 18 a SoA ieat : marble bas-relief, 
in, J. Peder 15275 


oe tA in. x 3 ft. 


70ecedi Simone, tae ae vaetdeed terra .- 
cotta ‘ager BY -C.. Bin, PW, 3 
oan ee Rlee ip kn mis 9 $ <ibn SH pmioaie’s 1,790 
na I Fadevs » Be Faduen parble bas-relief, 
4x36, W Hearst....'..: 5500 
PAINTINGS ah THE xy: XVI-XVII-XVIII -C. 
801—Chinese Painting, BV. 1 Lean Rieci,s,. A25 
503=Feal nefeano, M. Ah, Peta.” Apanel) ; 
x7, Catdaracns Behe esa nensesigis vests 625 
403—Flemish "School, XV°C !Bortable Trip: mate 
tych,” (panel) seat, G. Schiller.’.,.. 90 
804—Ferrara, , “The Annynciatiqn,” 
(panel) 1 xu, Seeman, Aptis diemaant 450 
bee hisi, F., “Vitgin and Child, ee (panel) he 
15x uo HEP RION Biles bata elgiedtt gia $ ut of Sale 
oe cle, D: aim “Triptych, ” (panel) 21%4x 
‘ Blcher a salsa tines a aivn dates Hears 
o7— sto? School, XV C,, “Virgin, Child, 
Saints,” (panel) 27x13%4, Fletcher .... 
808—Aretino, S., XIV C,, “The Crucifixion,” 
SRA, Liege Riges iiss vaca cicksucietes ,800 
809—Giambono, M., XV C., “Madonna and 
Child,” (panel) 22x13%, L. Orselli,.... 1,800 
810—Fabriano, G, da, XIV C., “Madonna and 
Child” ray 244x174, Leon Ricci. . , 15850 
pier Raibalinl, ‘Virgin, Child, St. John,” é 
24x1934, Cis CO cise y crurinttace ainers 390 
812—Melanzio il Vecchio, xv ¢ A Deposi- 
ton, (panel: crepteered’ “Ito “canvas) jj 
21x16, Dr. ae HEL AS. Ga eAirgnt oe 875 
413-Sellaig, J, X Cc, “Virgin in Adora- 
tion,” ea 27x20, -Leon Ricci. ...... 425 
814—Veneto- Byzantine School, XIII C., 
mee and Child,” - 36x23%, L, 
bre Pt decid ae ar ae a ar vier ges "250 
—Fiorentino, XV_C., ‘Madonna and 
Child,” 25x14, “is, H. Re Mathews. 950 
816—Fungai,  B., Virgin in Adoration, ” 
(panel) 37x20, L. Ovxselll asics cusses 300 
a ese ee School, aw i “An Adora- 
ion,” (panel) 25x21 . R. Hearst:., 2 
818—Veneto-Byzantine School, XIV Cc. “Mas ce 
donna and Child,”~ (panel) 33%4x27, . 
Chang Ca sis ian heso ban pee eic cee 350 
819—Bellini School. XV C., ‘Madonna and 
a ” (Tondo _Rapel) 35 in dinette: 
Ww. PEOATEU cohen aaatannag gchar 330 
820-—Coraltiak PIL Ce A Deposition,” : 
Cony Riaal Contre iiccai chemin ie thGaS 
821—Uccello, P,, Florentine School, “Frant of 
Small Cassone.” 16%27%4, Seaman, Agt. 1,200 
822—Cassone painting, XV C.. “Master of the 
Battle of Anghiari,” 18%x51¥%, C. E. 
aad Bont ria ORY Seale esate sine he/Sia ein plaid haere + 2,300 
—Pesellino, C., Cassone painti i 
16%4x53! Teon Rieal cus owiehe ee 
824—Botticini, XV C., “Madonna and Child,” ” 
(panel) 33x21%. Leon Ricci ........... 225 
825—Early XV C. Florentine School, ‘Ma; 
donna and Child,” (panel) 39x20, L. 
Ossellitt oyaierieacun accra hot 
826—D’Arezzo, M., ‘Beheading St. John,” 
(manel) 34x26, Canessa ............... 225 
827—Linvo Lippi, (manner of) “Holy Family,” 
C., 46 in dia., a OBOE ase sicccranias 3,200 
828—Fiorentino, P. F.. “Virein and Child.” 
VC. (panel) 511%4x36%, Leon Ricci. 4,400 
829—Lorenzetti, A.. XIV C., “Triptych,” 
(panel) 79x67, Seaman, Act. .......... 3,500 
830—Ventian School. XIV C.. “Pair of Panels,” ; 
(panel) 59x291%A Seamon .............. 750 
831—Orcagna, A.. XIV C., “Pair of Paintings, 
Gronns of Saints,” (panel) 56x32, Sea- - 
ate : ,000 
832—Savre, J. F.. XVIIT Yelk English School, 
“Feeding Chickens” (canvas) 19%6x15%, 
Seaman, Aah’ 7.000200, 27, -pair 600 
833—Venetian, School, XVIIT C..'“The Sweet. 
earts.”” (pastel) 4014x31,. Lean. Ricci. ,. 25 
834—Monsu D.. XVII C... Pair. Rectangular : 
PSR, (canvas 16%4x26%, VL. Feffer- 
bight teach meta ere elita rere ipig egg TG ore 20 
a35—de- Teme J.. XVIII ©.. “Portrait of ; 
Ladv.” (canvas) 40x29V%, Satinaver .... 550 
836—French School, XVIII C.. “Portrait of an 
Admiral,” (canvas) 35x25%4. Leon Ricci 150 
837—Longhi, P.. XVHT C, Baty pcre to 
Mother,” (canvas 76x54, Leon Ricci. 375 
SPORT Miss latew se aeennw Dem nents eaeee $89 635 


The Closing Session 


The total of the closing session Tuesday 
aft. last, Apr. 27, was $54,929, making’ an 
announced grand total for the 927 numbers 
in the Catalog of the entire sale, $493,090. 
The top price of the session, $9,200, was 
paid by W. R. Hearst for No. 921, a Vene- 
tian Gothic “floreale” stone and wrought- 
iron well head 15 C. from the Dal Zotto col- 
lection, Venice 13 C. To Mr. Hearst went 
also an early Gothic marble font No. 917, 
from the Simonetti collection, for $1,600; a 


(Continued on page 8) 


Tolentino Art Sale ~~ =" 


(Continued from page 6) 


pair of Roman porphyry columns; No. 918, 


also for $1,600 and a Roman and Floren- 
tine Pentelic marble doorway, 15 C., for 


$1,550. A Florentine colored stucco bas~ 


relief by Neroccio di Bartolomeo Landi, No, 
874, went to Bernet, agent, for $875; a pair 
of Venetian carved and painted wood dogs 
16 C., No. 879, from the Dal Zotto collec- 
tion, Venice. to Seaman. agent for $1,200, 
and a pair of Venetian Gothic stone lions, 
15.C., No, 915 to the same buyer for $1,200. 


er ee 
eon ill 
Se 

Set 0 oer eae 

paepsloenepremmtapereente ae Serer nS Tee 


oe ree ould narra ow ei Hy 
a. 


sage | EAE NL 


pore 
rite is = 
cae ay wayne pea ment ‘ : 
; at ye ene 7s 
hes 


doom ‘ 
perenne entre ry 
a aes pen trea 
pees ‘ vay 
ve we 
rt tt aa nied 
oe ee 


or osene 
‘ae neon 8 OTOL 
eaemen nse ve 
or stm a ob hy 
eee wr 084s slit 
as hcp ipl tips PT Pr 
re eee atrmartesti SW RVIEN ONES BAUR SENN TARE 4 
a eat cena oF 


rrerirs 
Aieqonends NOW Perenes eve Sim 
on rrqgen ome 
yaee vom 
Sy ey wemyeee Swe “ P 
4 SN ea ak od Aa 
Sateen auoety 


iw Seon tty ages 
pene NOP Mae: 
nal eas tora eyra deen 2etaeu Mah Hy 

~ 


neue ne et yp wrae” 


bye we ve eri . 
weet e ae 
. ‘ ¥ ty 
POT Lira tk Re 
ei ote a 


Serevent pig A nt INSEE Ni PO EAT Pasw tet veoare 
Price a oata nee canopy ogame tia 
area aegis = quageng ever seo ek" 


